Woolley & Wallis Auctioneers

ENGLISH & EUROPEAN CERAMICS & GLASS TUESDAY 26TH & WEDNESDAY 27TH APRIL 2022

SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Hollie Morrison

VALUATIONS FOR INSURANCE & PROBATE 424507 446964

Jeremy Lamond MRICS ASFAV FRSA Amanda Lawrence

424502 424509

GENERAL OFFICE

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424505 446955

AFRICAN & OCEANIC ART ANTIQUITIES Will Hobbs Molly O’Reilly

339752 446980

Ruth Pike (Office Manager) Sarah Bennie Megan Corbett Leyanne Hind Nicola Young

424500

CASTLE GATE RECEPTION Sally Litherland

ASIAN ART John Axford MRICS ASFAV Alexandra Aguilar Freya Yuan­Richards Jeremy Morgan Alana Ker Mercer Michelle Yu

424506 424583 424589 +44 (0)7812 601098 424591 424571

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan­Richards Michelle Yu

411854 339161 446974 446974

JAPANESE ART Alexandra Aguilar Alana Ker Mercer

424583 424591

JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Samuel Hug FGA DGA Emily O’Donnell

Chloe Davie

ACCOUNTS Sharon Ringwood Anna Gentleman

BOARD OF DIRECTORS 424589 424571

FURNITURE, WORKS OF ART & CLOCKS Mark Yuan­Richards Jim Gale Suzy Becsy Sarah Stone

MARKETING

424595 424504 424586

John Axford MRICS ASFAV Chairman Natalie Milsted FCCA Managing Director

ASSOCIATE DIRECTORS Alexandra Aguilar Clare Durham Victor Fauvelle Will Hobbs Michael Jeffery Jeremy Lamond MRICS ASFAV FRSA Rupert Slingsby Marielle Whiting FGA Freya Yuan­Richards Mark Yuan­Richards

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Molly O’Reilly

341469 446980

PAINTINGS Victor Fauvelle Ed Beer Hannah Farthing

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

446951

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ENGLISH & EUROPEAN CERAMICS & GLASS TUESDAY 26TH & WEDNESDAY 27TH APRIL 2022 10.00AM Clare Durham 01722 424507 cd@woolleyandwallis.co.uk

at our Castle Street Salerooms, SP1 3SU

VIEWING AT OUR NEW EXHIBITION SPACE AT CASTLE GATE Hollie Morrison 01722 446964 hm@woolleyandwallis.co.uk

Unit 1B, Castle Gate Business Park Old Sarum, Salisbury, SP4 6QX VIEWING Saturday 23rd April Monday 25th April Tuesday 26th April Wednesday 27th April

10.00am – 1.00pm 10.00am – 4.00pm 8.30am – 4.00pm 8.30am – 12 noon

DIRECTIONS TO THE NEW EXHIBITION SPACE AT CASTLE GATE Woolley & Wallis Unit 1B Castle Gate Business Park Old Sarum Salisbury SP4 6QX

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Kia Motors

Old Sarum Park

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Westover Garage Sarum Business Park

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VIEWING HERE

WOOLLEY & WALLIS Castle Gate

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1st Self Access Storage

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AUCTION HERE

WOOLLEY & WALLIS Salisbury Salerooms

A345 Castle Rd

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SALISBURY

Old Sarum

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MARLBOROUGH & SWINDON

Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

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THE VIEWING OF THIS SALE WILL TAKE PLACE AT Unit 1B, Castle Gate Business Park Old Sarum, Salisbury, SP4 6QX Client Parking Available Saturday 23rd April Monday 25th April Tuesday 26th April Wednesday 27th April

10.00am – 1.00pm 10.00am – 4.00pm 8.30am – 4.00pm 8.30am – 12 noon

THE AUCTION ON 26TH & 27TH APRIL WILL TAKE PLACE AT CASTLE STREET 51­61 Castle Street, Salisbury, SP1 3SU

BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING Requests for telephone bids cannot be accepted after 5pm on Monday 25th April

LIVE ONLINE BIDDING – FREE OF CHARGE

LIVE bid.woolleyandwallis.co.uk Please register by 5pm on Monday 25th April

CONDITION OF LOTS Buyers are advised to obtain a full condition report prior to bidding, as descriptions do not necessarily list all faults.

COLLECTION OF LOTS BY APPOINTMENT Collection is from our warehouse, Unit 1B, Castle Gate Business Park, Old Sarum, Salisbury, SP4 6QX. Please instruct carriers accordingly and note, the warehouse is closed over weekends.

Please call 01722 446950 or 01722 424500 prior to collection to ensure the items are ready All accounts to be settled prior to collection

Instagram: @woolleyandwallisceramics @woolleyandwallissalerooms Facebook: @woolleyandwallis Twitter: @woolleywallis Pinterest: Woolley and Wallis

EXPORT AND CITES LICENCES Some lots may require export or CITES licences in order to leave the UK or Europe, please refer to the department for guidance.

ILLUSTRATIONS Front cover: Lot 508 Back cover: Lot 360­364 Catalogue £12.00 (£15.00 by post)

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DAY ONE Tuesday 26th April 2022 at 10am Glass and Pottery – Lots 1­424

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1 Two wine glasses, c.1775, with round funnel bowls, one engraved with a chinoiserie scene of a figure flanked by pagodas, raised on a hexagonal stem, the other with a European landscape scene raised on a facet cut stem, 15.3cm max. (2) £150-250

2 Two balustroid wine glasses, c.1735-40, one of ‘Kit Kat’ type with a drawn trumpet bowl over a knopped stem enclosing a single tear, the other with a bell bowl over a stem with basal and central knops enclosing a long tear, and a small wine or cordial with a drawn trumpet bowl over a plain stem, all over folded conical feet, 15.5cm max. (3) £200­300 Provenance: acquired from Coritani, 8th October 1998 (the bell bowl); and Ged Selby Antique Glass, 11th May 2003.

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3 Three balustroid wine glasses, c.1740, with round funnel bowls, two on plain stems with shoulder and central knops, the last with a shoulder and basal knop, all above folded conical feet, 15.8cm max. (3) £200­300 Provenance: acquired from Peter Jones, Hertfordshire, 19th February 2000; and Coritani, 16th October 2000 and 25th March 2001.

4 Two small wine glasses of Jacobite significance, c.1760, one engraved with a crown perched atop a leafy oak tree, inscribed ‘5 Sep’, raised on a multi series opaque twist stem, the other with a simple rose and bud spray over a plain stem and conical foot, 13.4cm max. (2) £500-800

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After the Battle of Worcester on 3rd September 1651, Charles fled north, arriving at Madeley Court in Shropshire on 5th September and travelling on to arrive in Boscobel in the early hours of 6th September. That day Charles spent hiding in an oak tree, returning to Boscobel House in the evening.

The date on this glass may be an error, or it may relate to the Wolfe family, who sheltered the King at Madeley on 5th September.

5 Two wine glasses, mid 18th century, with drawn trumpet bowls raised on dense airtwist stems, one above a domed foot, the other above a folded conical foot, 17.2cm max. (2) £150­250 Provenance: acquired from Coritani, Northants, 24th May 1998; and Jennie Griffiths, 1st December 2001.

6 Two balustroid wine glasses, c.1740-60, one with a rounded funnel bowl above an inverted baluster stem with basal knop, the other with a ribbed bowl above a balustroid stem with two knops, and a soda gin glass with bell bowl over a knopped balustroid stem, all over folded feet, 14.5cm max. (3) £100-150 4

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7 Two large wine glasses or goblets, c.1730-60, one with a round funnel bowl with solid base, raised on a pedestal stem enclosing a long tear above a folded foot, the other with a generous cup bowl over a multiple series opaque twist stem and conical foot, 19.4cm max. (2) £250-350

8 Three wine glasses, mid 18th century, two with bell bowls over plain stems enclosing long tears above folded feet, the last with a bell bowl over a balustroid stem enclosing two rows of tears, 17.6cm max. (3) £200­300 Provenance: the latter acquired from William Hotopf Antiques, London, 3rd June 2000.

9 Two wine glasses and a cordial glass, mid 18th century, with drawn trumpet bowls raised on plain stems, the two wines each enclosing a single tear, above conical feet, 17.7cm max. (3) £200­300

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Provenance: acquired from Jennie Griffiths, Henley on Thames, 12th February 2000; Alvesden Antiques, Tunbridge Wells, 2nd June 2000; the cordial on 12th May 2002.

10 Two wine glasses, c.1730-40, with bell bowls, one raised on an inverted baluster stem, the other on a solid plain stem with shoulder knop over a folded conical foot, 16cm max. (2) £150­250 Provenance: the first acquired from William MacAdam, Edinburgh, 13th November 2002.

11 Two large English wine glasses or goblets, c.1730-35, with bell bowls enclosing a single tear to the solid base, raised on plain stems above folded feet, 19.3cm max. (2) £300­500 Provenance: a private collection from London.

12 Three ale glasses, .1760-70, with slender round funnel bowls raised on double series opaque twist stems and conical feet, 18.7cm max. (3) £150­250 Provenance: acquired from Coritani, Northants on 22nd February 1998 and 17th February 2001.

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Six wine flutes, c.1760, the slender drawn trumpet bowls with slightly everted rims, rising from double series opaque twist stems above conical feet, 19.3cm. (6) £400-600

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Six Continental glass wine flutes, c.1760, with slender drawn trumpet bowls with slight everted rims, raised on multi series opaque twist stems, a few small footrim chips, 18.3cm max. (6) £150-250

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A wine glass, c.1750, with a bell bowl raised on a cable airtwist stem over a conical foot, 18cm.

£200­300

Provenance: a private collection from London.

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A cordial glass, c.1740-60, the small rounded funnel bowl moulded with vertical flutes and raised on a dense airtwist stem over a conical foot, a little nibbling to the foot, 15.8cm. £100-200

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An unusual wine glass, c.1765, with a generous tulip bowl on a double series opaque twist stem above a conical foot, 16cm.

£100-200

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A small wine glass, c.1750-60, the round funnel bowl raised on an incised twist stem over a helmet foot, 16cm.

£150-250

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A cordial glass, c.1765, the small round bucket bowl raised on a double series opaque twist stem above a conical foot, the bowl possibly trimmed, 15.2cm. £150­250 Provenance: a private collection from London. Formerly the Peter Lazarus Collection.

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A balustroid wine glass, c.1740, the tall bell bowl raised on a balustroid stem with annulated knop over a plain section enclosing a long tear over a basal knop, above a folded foot, 16.7cm. £200-300

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A small Beilby wine glass, c.1760, the ogee bowl enamelled in white with diaper panels within rococo scrolls, raised on an opaque twist stem enclosing a gauze core, the bowl broken off and cleanly restuck, 14.7cm. £100-200

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A Lynn ale glass, c.1760, the long round funnel bowl moulded with horizontal bands, raised on a double series opaque twist stem over a conical foot, 16cm. £250-350

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A matched set of six large wine glasses, c.1770 and later, with generous drawn trumpet bowls rising from thick plain stems enclosing a single tear, 18.4cm max. (6) £250-350

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A set of six glass wine flutes, c.1760, with slender drawn trumpet bowls rising from double series opaque twist stems over conical feet, 17.7cm. (6) £400-600

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25 A miniature baluster wine glass, c.1720, the small funnel bowl with a teared base, raised on a baluster stem with an angular knop over a folded foot, and an unusual wine glass with a drawn trumpet bowl rising from a short plain stem over a tall conical folded foot, 11.4cm max.

(2) £400­600 Provenance: the baluster from the Michael Parkington Collection, sold at Christie’s, Part 2, 8 April 1998, lot 111. Later the A C Hubbard Collection, Bonhams, 30th November 2011, lot 39.

26 A small engraved wine glass, c.1770, the round funnel bowl engraved with a demi savage figure smoking a long pipe, flanked by stylized foliate sprays, raised on a short faceted stem above a thick conical foot, 10.5cm. £100-200 25

26 27 A commemorative rummer of antislavery interest, late 18th/early 19th century, engraved to one side with a chained and kneeling figure titled ‘Am I Not a Man and Brother’, the reverse with a verse ‘Health to the Sick, Honour to the Brave, Success to the Lover and Freedom to the Slave’, on a short stem above a thick foot, 16.5cm. £150-250

28 A small champagne or toasting glass, c.1760, the shallow pan-topped bowl engraved around the rim with ‘DRINK NAY A TASTE’, raised on a knopped opaque twist stem above a thick conical foot, a bruise to the knop, 8.8cm. £150-250

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28 29 A cordial glass, mid 18th century, the small bucket bowl raised on a plain stem with shoulder and basal knops over a folded conical foot, and a gin glass with narrow bell bowl over a balustroid stem and folded foot, 15.7cm. £150­250 Provenance: acquired from Coritani, Northants, 14th February 1999 (cordial) and 12th February 2000 (gin).

30 A small colour twist wine glass, c.1760, the round funnel bowl raised on a triple series opaque twist stem enclosing a dark grey core, over a conical foot, small chips to the foot, 12cm. £250-350

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31 A heavy baluster wine glass, c.1710, the round funnel bowl with a solid base rising from an inverted baluster stem over a folded conical foot, 15.5cm. £500-800

32 A composite stem wine glass, c.1745, the bell bowl raised on a multi spiral airtwist stem sitting in a baluster knop enclosing two rows of tears above a conical foot, 17.2cm. £400­600 Provenance: a private collection from London.

33 A large goblet or ceremonial glass, c.1750, the generous cup-shaped bowl raised on a knopped airtwist stem, 22.2cm. £500­800 Provenance: the A C Hubbard Collection. A private collection from London.

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34 Five Masonic wine glasses, early 19th century, one engraved with the arms and motto of the Grand Lodge of Glasgow, three with Masonic symbols and the initials ‘JA’, the last with three motifs of the Prince of Wales feathers, raised on faceted stems, 13.8cm max. (5) £100-200

35 Four glass mugs, late 18th/19th century, one painted with a panel inscribed ‘Love the Giver’ in black on a gilt ground within a green and red border, one engraved with a coat of arms and the name ‘William Kingdon’, another with the initials ‘MSEJ’ over floral swags, the last cut with vertical flutes over a starcut base, 12.2cm max. (4) £100-200

36 Eight various glasses, 19th century, one engraved with a gentleman in a top hat and a roundel dated 1841, a wine glass engraved with six different crests, a glass inscribed to the foot with ‘Her Most Gracious Majesty Queen Victoria Drank out of this Glass’, an armorial glass on a square base, two engraved with foliate designs, a narrow tumbler decorated with a verse about drunkards, and a heavy glass enclosing a small enamel plaque of Napoleon, 13.3cm max. (8) £100-200

37 Three glass rummers and a tumbler, late 18th/early 19th century, all with diamond point engraving, one rummer inscribed ‘Thomas & Susy Senior 1792’ and ‘The Gift of Elizabeth Senior’, another with a chinoiserie landscape border, the last with the initials ‘RCP’ above a sheaf of corn, the tumbler engraved ‘John & Margaret Brocklebank were married at Staveley February 3rd 1825’, 14.2cm max. (4) £250-350

38 Two jelly glasses, c.1750, with bell bowls raised on short beaded knops, one with a handle above a domed and stepped foot, the other moulded, a two-handled glass with a short plain stem and conical foot, and a moulded glass with cup bowl over a moulded stem, 11.8cm max. (4) £120-180

39 A set of eight glass rummers, 19th century, the generous moulded bowls engraved with a band of fruiting grapevine, raised on short stems above square feet, 12.6cm. (8) £200-300

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John Brocklebank, a joiner, married Margaret Bayliff in Staveley, Cumbria. He died in 1884 at the age of 87. Thomas Senior married Susey Maud on 17th October 1791 in Halifax, West Yorkshire.

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A large wine glass or goblet of possible Jacobite significance, c.1765-70, the deep bowl engraved with a spray of carnation, the reverse with a butterfly in flight, the faceted stem creating a six-petal rose effect to the interior, over a conical foot, 18.3cm. £150-250

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A wine glass of Jacobite type, c.1760, the generous bell bowl engraved with a rose and bud spray, raised on an inverted baluster airtwist stem over a conical foot, 17.8cm. £150-250

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A wine glass, c.1760, the round funnel bowl raised on a triple-knopped airtwist stem above a conical foot, 17.2cm.

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A large and unusual wine glass or goblet, c.1765, the flared bucket bowl engraved with a fountain flanked by two trees, raised on a cable airtwist stem above a conical foot, 21cm. £150-250

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Eleven jelly glasses, mid 18th century and later, one moulded with a beaded knop, three others moulded with a single handle, one moulded with ribs, another with a honeycomb design, two plain with folded rims, one with a pan-top, two on octagonal feet with trailed rims, 11.7cm max. (11) £100-200

£150-250

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45 A ‘Friendly Hunt’ firing glass, c.1750, the ogee bowl engraved ‘Friendly Hunt’ beneath a band of fruiting vine, raised on a short plain stem above a thick foot, 11cm. £600-1,000 Cf. Bonhams, The Ron & Mary Thomas Collection of English Glass, 4th June 2008, lot 39 for a drawn trumpet firing glass.

The Friendly Hunt was a meet associated to a Jacobite Society in Worcestershire.

Founded in 1747, the Association met annually in rotation in the neighbouring towns of Droitwich, Bromsgrove, Dudley, Kidderminster and Stourbridge.

46 A wine glass of probable Jacobite significance, c.1750, the funnel bowl engraved with a crown and the initials JS, raised on a plain stem above a folded foot, 14.9cm. £500­800 Similar Jacobite glasses are usually engraved with the cipher JR, but it is likely that the initials refer to James Stuart. Cf. Two glasses from the J W Holt Collection, Sotheby’s, December 1925, lot 58 engraved with oak leaves and the initials ‘IS’ for James Stuart.

47 A Jacobite wine glass, c.1760, the round funnel bowl engraved with a detailed rose and bud spray, and with an eight-pointed star, raised on a cable airtwist stem, 16.8cm. £400-600

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48 A privateer wine glass, c.1758, the bucket bowl engraved with a three masted ship at sail, inscribed above with ‘Success to the BETSY Privateer’, raised on a multi series opaque twist stem over a conical foot, 16cm. £1,000-2,000 The Betsy was a Liverpool ship under the command of William Watt. She was granted letters of marque on 26th April 1758.

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49 Three wine glasses, c.1760, the wide drawn trumpet bowls raised on plain stems enclosing a single tear above conical feet, 18.3cm max. (3) £150-250

50 A small colour twist wine glass, c.1760, the ogee bowl raised on a stem with a red thread around a white gauze spiral, above a conical foot, a repair at the top of the stem, 14cm. £150-250

51 A wine glass of possible Jacobite significance, c.1760, the round funnel bowl engraved with a sunflower spray, raised on a plain stem and conical foot, 15cm. £150-250

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52 An ale glass and a flute, c.1760, the ale with a slender ogee bowl engraved with hops and barley, the flute with a slender drawn trumpet bowl, both raised on multi series opaque twist stems, 18.5cm max. (2) £150-250

53 A pair of large rummers, late 18th century, the generous rounded bowls engraved with flower stems with polished petals, raised on short plain stems over helmet shaped feet, 15.1cm. (2) £150-250

54 A pair of glass rummers decorated by William Absolon, early 19th century, the deep bowls gilded with a sailing vessel beneath the partial inscription ‘Success to the S..’, the reverse of each with monogrammed initials beneath ‘A Trifle from Yarmouth’, general wear to the decoration, 14.5cm. (2) £100-150

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55 Six wine flutes, c.1760, the slender drawn trumpet bowls with slightly everted rims, rising from double series opaque twist stems above conical feet, 19.5cm. (6) £400-600

56 A set of six large wine or ceremonial glasses relating to the Dutch East India Company, 19th/early 20th century in the 18th century manner, the drawn trumpet bowls variously engraved with flowers, coats of arms, ‘VIVAT ORANJE’, and the VOC monogram, all raised on facet cut stems, 26.2cm. (6) £600­800 Provenance: Pieter Lagaay, President of the Netherlands Trading Society (Nederlandsche Handel-Maatschappij - NHM) and thence by descent.

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57 Two pairs of wine glasses, c.1760-70, the larger pair of round funnel bowls raised on multi series opaque twist stems, the smaller with round bowls over facet cut stems, 15.7cm max. (4) £100-150

58 Four small wine glasses, c.1770, a pair with vertically moulded round funnel bowls with a band of polished ovals, another cut with polished ovals above a faceted stem, the last with an ogee bowl above a plain stem and folded foot, 14.3cm max. (4) £100-200

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59 A large and rare commemorative rummer or goblet, c.1798, well engraved with a detailed and continuous scene of a sea battle, inscribed ‘Hail ye Britons of this happy Isle, Success to Nelson Baron of the Nile’, raised on a short plain stem above a thick conical foot, a repair to the bowl, 24.3cm. £100-200

60 A Jacobite goblet, c.1760, the generous ogee bowl engraved with rose and thistle sprays, raised on a dense airtwist stem and conical foot, 17.6cm. £300-500

61 A large Jacobite glass goblet, c.1760, the generous bucket bowl engraved with a six petal rose and bud spray, raised on a cable airtwist stem above a thick conical foot, the bowl cleanly reattached, 21.5cm. £300-500

62 A rare English drinking glass or beaker, c.1750, the tall rounded funnel bowl deeply engraved with a formal motif of fruit and flowers around a trellis panel, raised on a short beaded knop and thick conical foot, 12cm. £200-300

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63 An Admiral Byng wine glass, c.1763, the round funnel bowl engraved with the officer hanging from a gibbet flanked by the initials A B, the reverse inscribed JUSTICE, raised on an airtwist stem above a conical foot, 15.8cm. £1,000-1,500 Admiral John Byng was a Royal Naval officer and an MP from 1751 until his death in 1757. During the Seven Years War, Byng was sent to relieve a besieged garrison at Minorca. With his ships in a poor state of repair, Byng opted to return to Gibraltar to see to his ships and await further promised resources. On his return to Britain he was court-martialled for failing to “do his utmost” to prevent the loss of Minorca. He was executed by firing squad on 14th March 1757 the engraving on the glass being symbolic rather than accurate - despite appeals to King George II for clemency. Byng was seen by many as a scapegoat for the Admiralty’s inefficiency and the execution in this way of such a high-ranking officer divided the country. His descendants today continue to campaign for a posthumous pardon.

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A wine glass, c.1750, the bell bowl with a solid teared base raised on an airtwist stem with swollen shoulder knop, 16.8cm.

£150­250

Provenance: a private collection from London.

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A Lynn wine glass, c.1760, the rounded funnel bowl moulded with three horizontal ribs, raised on a double series opaque twist stem over a conical foot, 14.3cm. £250-350

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An Irish cordial glass, c.1740, the small rounded funnel bowl raised on a thick plain stem above a characteristic domed foot, 17cm.

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A rare wine glass, c.1750, with a drawn trumpet bowl raised on a short plain section above a double knopped airtwist stem and conical foot, 16.3cm. £300­500 Provenance: a private collection from London.

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Five unusual acid-etched wine glasses for the Earl of Bristol, early 19th century, the generous bowls inscribed ‘Je N’oublierai Jamais: The King, Loyalte M’oblige’, raised on plain stems over conical feet, 12.5cm. (5) £500-800

£250-350

The motto is for the Hervey family, and probably relates to Frederick William Hervey (1769-1859), the 5th Earl of Bristol and later 1st Marquess of Bristol.

He died of gout.

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69 A large glass goblet, c.1760, the generous ogee bowl raised on a multi series opaque twist stem above a conical foot, the stem including a single air thread, 23cm. £300-400

70 A large wine glass or goblet of possible Jacobite significance, c.1760, one side engraved with a carnation spray with two buds, the reverse with the profile portrait of a lady within an oval medallion suspended from leaf swags, raised on a thick double series opaque twist stem, 16cm. £300-500 Several women played a significant part in the Jacobite rebellion, including Flora MacDonald, who sheltered Bonnie Prince Charlie by disguising him as her maidservant.

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71 A baluster wine glass, c.1730-35, with a generous bell bowl raised on a baluster stem with two angular knops each enclosing a single tear, above a folded conical foot, 16.3cm. £300­500 Provenance: acquired from Rapparee Antiques, Croydon, 12th May 2002.

72 A small Jacobite wine glass, c.1750, the drawn trumpet bowl engraved with a rose and bud spray, an oak leaf and a star, over a dense airtwist stem above a folded foot, 14.2cm. £300-500

73 A Continental privateer wine glass, c.1780, the drawn trumpet bowl engraved ‘J Barton / Success to the Unity’, raised on a plain stem with a long teardrop above a folded conical foot, 17.3cm. £300-500 More than one ship called The Unity was involved in the American Wars of Independence, and it is likely that this glass relates to one of them.

74 An armorial wine glass, c.1760, of possible Jacobite significance, the round funnel bowl engraved with a coat of arms of three poplar trees beneath the crest of a demi-savage holding a club, raised on an airtwist stem with shoulder and basal knops over a conical foot, 16cm. £250-350 The crest is predominantly used by Scottish families including Bryan, Levingstone, Murray, Powell and Wood.

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75 A rare Jacobite wine glass or goblet, c.1750-60, the tulip bowl engraved with an upright thistle with two pairs of large leaves, a moth in flight to each side beneath the motto ‘Nemo me impune laeessit’ [sic], raised on a dense airtwist stem above a conical foot, 17.6cm. £800-1,200 The inscription (which should read Nemo me impune lacessit) is the motto of the Order of the Thistle, which was formerly established in the late 17th century by James II (VII in Scotland), although it was in existence long before then. It exists today as the greatest order of chivalry in Scotland and the 16 members are appointed by the monarch. After a hiatus, the Order was resurrected by Queen Anne in 1703.

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76 A baluster wine glass, c.1720, the deep round funnel bowl raised on a stem comprising an inverted baluster over a cushion knop above a true baluster enclosing a tear, above a domed folded foot, 16.8cm. £1,000­1,500 Provenance: a private collection from London.

77 A large baluster wine glass or goblet, c.1720-30, the generous round funnel bowl raised on a baluster stem comprising a cushion knop over a double annulated knop and hollow baluster section, over a conical folded foot, 23cm. £1,000­1,500 Provenance: a private collection from London.

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78 Four armorial glasses, c.1770 and later, one engraved with the initials ‘RDV’ beneath a crown, the reverse with a winged figure above a snake, a large rummer engraved with the crest of a crowned winged heart, a small bowl or beaker with griffins flanking a shield of fleur de lys, and a Royal beaker with a portrait between flags and monogrammed initials, a chip to the latter, 13.5cm max. (4) £100-200

79 Five various wine glasses, c.1760, a pair with a band of spiral moulding, one with a bell bowl, one a round funnel, the last with a slender drawn flute, all raised on various double series opaque twist stems, some footrim chips, 18cm max. (5) £150-250

80 Three wine glasses, c.1740-50, one with a round funnel bowl on a plain stem with basal ball knop over a domed and folded foot, the other two with drawn trumpet bowls over short plain stems and folded feet, 14.7cm max. (3) £60-80

81 A large ‘Union’ rummer, early 19th century, engraved with a continuous band of rose, thistle and shamrock, a smaller rummer engraved perhaps by Absolon of Yarmouth with a shield enclosing a ship and inscribed ‘SUCCESS TO THE TWO BROTHERS’, another smaller rummer engraved with a cartouche flanked by rose and thistle, the last with farming implements and the initials ‘JS’ and ‘WS’, 18.7cm max. (4) £300-500

82 Three ale glasses or flutes, c.1760-70, one with a drawn trumpet bowl engraved with hops and barley over a plain stem, another Continental and raised on a double series opaque twist stem, the last raised on a facet cut stem, 20.7cm max. (3) £60-80

83 Five wine glasses, c.1750-60, with drawn trumpet bowls, three raised on plain stems with two enclosing tears, the other two on airtwist stems, one above a folded foot, 19.4cm max. (5) £250-350

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A Jacobite wine glass, c.1750-60, the drawn trumpet bowl engraved with a flowering rose spray with two buds, an oak leaf and the word ‘Fiat’, raised on a dense airtwist stem above a conical foot, 16cm. £500­800 Provenance: acquired from Ged Selby Antique Glass, 11th May 2003.

85

A commemorative goblet or wine glass, late 18th century, the ogee bowl engraved with a spoiled anchor to one side, the reverse inscribed ‘DUNCAN FOREVER’, raised on a plain stem and domed foot, 19.3cm. £300-500 Admiral Adam Duncan, 1st Viscount Duncan (1731-1804) served as a commander during the Seven Years War but won the hearts of the nation when he defeated the Dutch fleet off Camperdown on 11th October 1797.

86

A large Jacobite wine glass, c.1755-60, the bell bowl engraved with a rose and bud spray above a double-knopped airtwist stem and conical foot, 18.3cm. £300­500 Provenance: acquired from Ged Selby Antique Glass, 9th November 2003.

87

Six small liqueur glasses, 18th century and later, one on a plain stem over a folded foot, one moulded over a folded foot, two with faceted stems, one with a knopped stem, the last with a bell bowl and heavy cut foot, and two larger hollow stem Continental glasses, the largest glass chipped, 11.4cm max. (8) £80-120

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88 A baluster wine glass, c.1725, with a large bell bowl raised on an inverted baluster stem enclosing a large tear above a short plain section and basal knop over a folded conical foot, 16.5cm. £400­600 Provenance: previously the Henry Botley Collection. Acquired from Coritani, Northants, 16th October 1999.

89 A small Jacobite wine glass, c.1750-60, the round funnel bowl engraved with a rose and bud spray, raised on a dense airtwist stem above a conical foot, 15.3cm. £300­500 Provenance: acquired from Ged Selby Antique Glass, 12th May 2002.

90 A baluster wine glass, c.1715, the bell bowl raised on a baluster stem with triple annulated central knop enclosing a long tear above a plain section and basal knop, over a folded conical foot, 17.2cm. £500­800 Provenance: acquired from Coritani, Northants, 1st January 2000.

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91 A large wine goblet, c.1760-70, the generous bowl gilded in the London atelier of James Giles with a large stem of fruiting grapevine, raised on a multiple series opaque twist stem over a conical foot, yellow enamelled collector’s number beneath the foot, 18.5cm. £600-800

92 A Dutch-engraved Orangist goblet, mid 18th century, the drawn trumpet bowl diamond point engraved with a large fruiting orange tree and a Dutch inscription, raised on a thick airtwist stem above a conical foot, 19.2cm. £800-1,200

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A suite of glass, early 19th century, the bowls variously drawn trumpet or round funnel, all engraved with a narrow vertical band, raised on faceted stems above conical feet. Comprising: 12 round funnel glasses, six large drawn trumpets, 16 slightly smaller and 16 small flutes. (50) £200-300

94

A large engraved glass ale mug or tankard, c.1760, engraved with the initials ‘B / IM’ within sprays of hops and barley, the wide strap handle with a scroll terminal, 18.5cm. £150-250

95

A large glass tumbler or vase, early 19th century, the slightly flared form cut with polished lappets around the foot, engraved in reverse with the initials ‘JDB’ to the underside, 17.8cm. £80-120

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96 A glass ale jug and a large mug or tankard, c.1760-70, the jug engraved with hops and barley flanking the initials ‘SD’, the mug of slightly tapered form, with a trailed band around the middle, 19.3cm max. (2) £150-250

97 A green glass beaker, dated 1831, cut with vertical flutes and inscribed ‘BEST HALF’ to the rim, and a small rummer dated 1794, inscribed ‘Brought from the West Indies by‘ above monogrammed initials, 11.7cm max. (2) £100-200

98 A cruciform serving bottle or decanter, c.1740, the squat body rising to a tapered neck with string rim, and a hexagonal serving jug with narrow neck and rounded handle, 24.5cm max.

(2) £200-300

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99 Two large glass jugs, c.1770 and 19th century, one raised on a low circular foot, the other Stourbridge and engraved with a continuous leaf design, and three glass condiment bottles and stoppers, the Stourbridge jug cracked, 26.8cm max. (8) £150-250

100 A graduated pair of glass jugs, late 18th century, roughly engraved with a leaf and barley design below two neck rings, raised on low circular feet, each applied with a hollow blown handle, a chip to the spout of the smaller jug, 25.8cm max. (2) £250-350

101 A carafe and wine glass from the Royal Yacht Osborne, c.1880, engraved with a garter around a spoiled anchor, inscribed ‘Royal Yacht Osborne’ beneath the Prince of Wales feathers, a repaired chip to the carafe’s rim, 15.2cm. (2) £50-80 HMY Osborne was a paddle steamer Royal Yacht launched in 1870. She conveyed the Royal Family to their holiday home on the Isle of Wight.

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102 Seven glass carafes or small vases, late 18th/19th century, two of plain bottle shape, one with a neck ring and everted rim, one engraved with foliate sprays, a small decanter with neck rings, and a pair of flasks with annulated rings to the slender necks, 16.3cm max. (7) £100-200

103 A three jar glass condiment or preserve set, 1st half 19th century, the three cylindrical jars cut with vertical narrow bands and contained in a metal stand covered with red leather, and a soda glass cylindrical jar and cover, the finial surmounted with a raspberry prunt, 26.8cm max. (9) £100-200

104 A glass finger bowl and stand, c.1760-70, engraved with a formal floral and foliate border, and another finger bowl of thistle shape with a similar design, 13.5cm max. (3) £100­200

105 A moulded glass butter tub with cover and stand, late 18th century, with honeycomb moulding, the cover with an acorn finial, and two matching glass coolers or finger bowls, 22cm max. (5) £100-200

Provenance: The Parkington Collection, Christie’s, 17th October 1997, lots 52 and 55 (part).

106 A small collection of glass items, 18th and 19th centuries, including two wine funnels, two moulded jars or mustard pots and covers, two ladles, one cut with a hobnail design, a stirrup cup in the form of a boot, two miniature glass vases, an eyebath, a small beaker with a blue rim and a Nailsea basket, some faults, 32cm max. (14) £150-200

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107 A small ‘Mountain’ decanter and stopper, dated 1790, the club shape engraved with ‘MOUNTAIN’ to one side, the reverse with ‘JAMES RAE’ within leaf swags, the date 1790 seemingly added by a different hand, 26cm. (2) £80-120

108 A large coin mug or tankard, 2nd half 18th century, the body applied with rings and trailing to the neck, raised on a hollow-knopped stem enclosing a George II silver sixpence (drilled), over a thick foot, 25.5cm. £150-250

109 A large Lynn glass tumbler, c.1760-70, the flared cylindrical body moulded with concentric horizontal ribs, 14.4cm. £150-250

110 A moulded glass decanter and stopper, c.1770-80, the slender form with an allover diamond design rising to a facet cut neck and stopper, 25.8cm. (2) £100-200 29

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111 A large baluster tazza, c.1725, the circular flat tray with a galleried rim, raised on a baluster stem enclosing a large tear above a domed and folded foot, 36cm dia. £200-300

112 A tall glass tazza, c.1740, the circular top with galleried rim, raised on an inverted baluster stem with spiral moulding above an annulated knop, raised on a domed folded foot, 16.5cm high x 21.2cm dia. £100-200 111

113 A glass tazza, c.1730, the flat circular top with galleried rim, raised on a five knopped bobbin stem above a conical folded foot, 24.2cm dia. £150-250

112 114 Three glass tazzae or stands, c.1740, all variously raised on ribbed baluster stems above annulated knops and domed folded feet, 34cm dia max. (3) £200-300

115 Three low glass tazzae or comports, mid 18th century, the wide circular forms raised on conical folded feet, 30.3cm max dia. (3) £200-300 113

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116 116 A part suite of glass, late 18th century, engraved with the Prince of Wales feathers issuing from a crown above the motto ‘ICH DIEN’, raised on faceted stems above conical feet. Comprising: five flutes, five 15.5cm wine glasses, six 12.9cm glasses and seven 14.3cm glasses. (23) £250-350 117 A massive ceremonial ale glass or flute, 19th century, the tall slender bowl cut with polished flutes to the base, raised on a short knopped stem above a slight domed foot, 47.5cm. £100-200 118 A large pair of cut glass candlesticks, early 19th century, with spreading integral drip pans over knopped sconces, raised on facet cut pillar stems over domed feet, 35cm. (2) £250-350 119 A glass oil or fluid lamp, early 19th century, the flattened sphere raised on annulated knops over a colour twist stem enclosing intertwining blue and white threads, above an annulated basal knop and stepped foot, 22.3cm. £100-200

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120 A large and rare blue glass stirrup cup, c.1790-1800, the wrythen moulded body tapering to a small foot, the whole of a rich cobalt tone, 12.8cm. £200-300

121 A rare blue glass salt, c.1760-70, the shallow bowl moulded with spiral ribs, raised on a knopped stem over a wide foot, 7cm high. £500-700

122 A blue glass vase, c.1770, the thistle shape gilded in the London atelier of James Giles with small flower sprays including sunflower, rose and honeysuckle amidst scattered leaf sprigs, 15.5cm. £200-300

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123 A blue glass decanter or carafe, c.1770-80, the pear-shaped body of a deep cobalt hue, gilded possibly in the Giles atelier with vertical bands of convolvulus twined around a rod, the neck applied with two rings, raised on a low circular foot, 25cm. £200-300 124 An amethyst glass carafe, late18th/early 19th century, the heavy pear-shaped body decorated in gilt with four vine tendrils beneath a neck ring, 18cm. £200-300 125 A pair of amethyst glass fingerbowls, early 19th century, with ridged bands around the centre, and a blue glass decanter and stopper, gilded with a bottle ticket inscribed ‘Brandy’ beneath monogrammed initials ‘JSW’, some gilt wear, 23cm max. (4) £150-250 126 Three small coloured glass decanters and stoppers, c.1790, of differing shape, two of a deep cobalt blue and gilded with bottle tickets inscribed ‘RUM’, the last a bluish green and gilded with a shield-shaped ticket inscribed ‘SHRUB’, the flattened stoppers gilded with letters and chain or foliate motifs, 25.2cm max. (6) £300-500

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127 A glass lace-maker’s condenser or water lens and stopper, c.1760, the large globe body raised on a tall folded foot, a small lace-maker’s lamp and a concave tazza or comport with everted rim, 30.5cm max. (4) £100-200 Condensers of this type were filled with water and provided a powerful magnifying tool for lace-makers and engravers engaged in detailed work.

128 A frosted glass jug and a carafe, 19th century, the jug with a clear roundel inscribed ‘White Port’ and dated ‘1861’, the carafe with an inner chamber sealed with a cork, possibly for warming, 26.7cm max. (2) £80-120

129 A large glass condenser or water lens, c.1760, the globular body with a wide folded neck, raised on a spreading folded foot, 34cm high. £100-200 127

128

A condenser of this size is likely to have been used in a small studio with multiple workers rather than for one individual engraver or lace-maker.

130 A large green glass bottle or carboy, late 18th/early 19th century, the globular body of a green tone, with slight kick-in base, rising to a short neck applied with a single ring and flaring slightly at the rim, 27cm high. £100-150

131 A pair of cut glass sweetmeat dishes, 19th century, of shallow oval form, star cut bases, 25.5cm. (2) £50-80

132 Two cut glass soup ladles and a wine funnel, 19th century, one ladle with a circular bowl and spout, the other with an oval bowl and heavily cut curved handle, the wine funnel cut with a hobnail band and a short faceted spout, 27cm max. (3) £100-200 129

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133 133 A rare glass bowl and mug, early 19th century, each piece engraved ‘Success to the Coal Trade’ beneath a tasselled border, the waisted mug raised on a circular foot, 22cm max. (2) £800-1,200 The inscription probably relates these pieces to the North East of England, where deep shaft mining flourished from the late 18th century.

134 A glass candlestick, late 18th/early 19th century, the waisted nozzle cut with a diamond design, raised on a knopped facet cut stem above a domed foot cut with a petal design, fitted with a cut glass drip pan, 25.2cm. (2) £200-300 135 A Madeira decanter and stopper, c.1770, the round shouldered form engraved with a bottle ticket inscribed ‘MADEIRA’, suspended from a chain and surrounded by fruiting grapevine, with a flattened faceted stopper, a little chipping to the stopper, 27.7cm. (2) £300-500

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136 A treen and glass cruet, 2nd half 18th century, the wooden stand fitted with five glass bottles with varying wooden tops with bone finials, 29cm overall. (11) £150-250 137 A good glass vase, late 19th century, finely engraved with flower sprays, bead swags and leaf garlands, the narrow neck applied with two pinched handles, 33.5cm. £150-250 138 A cruciform glass serving bottle or decanter, c.1740, of slight cruciform shape, the body rising to a tapered neck with string rim, 23.7cm. £200-300 139 A cut glass decanter and stopper, 1st half 19th century, the hexagonal form cut with three trellis panels flanking engraved portraits of the Duke of Wellington, William Beresford (1st Viscount Beresford) and King George IV, 31cm. (2) £150-250 140 Seven small glass bowls, 18th/19th century, of flared form, the five smaller with folded rims, the larger with everted rims, 12.3cm dia. max. (7) £100-200 One with a paper label for the Ron & Mary Thomas Collection.

141 A commemorative glass reverse intaglio, 19th century, deeply engraved with a portrait of Napoleon Bonaparte, a plaster cast of the same, and an earlier plaster cast of Jean Dassier’s 1731 medal of Henry VI, 8cm max. (3) £30-50

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142 Five coloured glass decanters and stoppers, 19th century, a pair blue with penny stoppers engraved H and B for Hollands and Brandy, another with a facet cut stopper and a similar light green example, the last cut with neck rings and polished lappets of a rich emerald hue, 28.5cm max. (10) £200-300 143 Six coloured glass hyacinth bulb vases, 19th century, four of tapering form with swollen necks, two of baluster form, raised on circular feet, the glass different shades of blue, green, amber and amethyst, 23.5cm max. (6) £150-250 144 Three coloured glass bottles, 19th century, the smallest blue and engraved with three portraits of drinkers, another of a deeper blue with a metal mounted cork stopper inscribed ‘GIN’, the last green with a metal-mounted rim and a metal-mounted cork stopper, 40cm overall max. (5) £100-200 145 Seven glass eyebaths, 19th century, four green, two blue and one clear glass, variously formed with generous bowls on plain stems, 6.8cm max. (7) £80-120 146 A collection of miniature or toy glassware, 19th/20th century, variously of clear, blue, green or amber glass, some opaque and painted with flowers or left in the white, including a pair of candlesticks, a footed bowl with crimped rim, a ewer, a decanter and stopper, five varying carafes, three teapots and covers, two coffee pots and covers, three jugs and stands, and a variety of cups and saucers, plates and small covered bowls. (A lot) £100-150 144

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147 Four regimental glass coolers, 19th/early 20th century, engraved with fruiting grapevine and the regimental device of the 9th Madras Native Infantry, and a small glass decanter and stopper with the badge of the 20th (East Devonshire) Regiment of Foot, 24cm max. (6) £100-200

148 A pair of Richardson’s (Stourbridge) large wine glasses or goblets, 19th century, each engraved with three floral roundels within a cut and frosted panel design, over faceted baluster stems, and a large coin rummer or goblet engraved with a continuous flower spray, the stem’s hollow knop enclosing a 3d coin dated 1881, 21.8cm max. (3) £100-200

149 A pair of Steven & Williams (Stourbridge) glass jugs and stoppers, late 19th/20th century, decorated with an allover design of peacock feathers, 20.8cm. (4) £100-200

150 Two glass water jugs, 19th century, probably Richardson’s (Stourbridge), one with a globular body, well engraved with sprays of waterlily, applied with a ropetwist handle, the other engraved and frosted in a stylized manner with convolvulus, both raised on starcut bases, 29.4cm max. (2) £100-200

151 A large quantity of glass decanter stoppers, 18th century and later, in varying sizes, of flattened penny, blown, mushroom and faceted form. (A lot) £150-200

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152 A good and rare magnum decanter of Shropshire interest, c.177080, finely engraved with a large cartouche of fruiting grapevine enclosing the inscription ‘RED WINE’, around the top engraved ‘ALL FRIENDS ROUND THE WREKIN’, the neck applied with annulated neck rings, with a flattened penny stopper, 33cm. (2) £1,000-2,000 The Wrekin is a large hill near Telford with an Iron Age hill fort at the top, but the term is also used to refer the general area of East Shropshire. The toast engraved on this decanter is traditionally used in the county, especially at Christmas and New Year.

153 A rare magnum decanter of military interest, c.1770, one side engraved ‘PLASSEY 1757’ and ‘BUXAR 1764’, the reverse with ‘THE HONOURABLE COMPANY’, rising to a tapering neck with a facet cut stopper, 37cm. (2) £1,500-2,000 The battles of Plassey and Buxar were pivotal victories for the British East India Company during the Seven Years War. The Battle of Plassey was under the direction of Major General Robert Clive, 1st Baron Clive.

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154 A good and large green glass decanter, early 19th century, cut with vertical bands of polished circles, the shoulder with a diamond pattern, the waisted neck with three cut rings, 30.5cm. £150-250 155 An armorial glass jug and stopper for the Copeland family, 19th century, the slightly flattened form engraved with the Copeland coat of arms and motto ‘Benigno Numine’ within foliate scroll decoration and above the monogrammed initials ‘WTC’, 26.3cm. (2) £120-180 It is likely that this jug was made for William Taylor Copeland (1797-1868), former MP and Mayor of London and proprietor of the Copeland porcelain manufactory.

156 A milk glass inkwell, late 18th/19th century, the square form painted in red and blue with stylized flower sprays and foliate scrolls, and a Russian-style glass egg, flashed with blue and cut with floral designs, 9cm max. (2) £50-100

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157 Two glass tea canisters, late 18th/early 19th century, of chamfered rectangular form, one engraved with Cupid among foliate scrolls, the short sides with baskets of fruit, the other of an olive green tone, 13.2cm max. (2) £100-150 158 Literature: Paul Hollister, The Encyclopaedia of Paperweights; James Mackay, Glass Paperweights; Lawrence H Selman, The Art of the Paperweight; Edith Mannoni, Classic French Paperweights; and eight other books or reference works on glass paperweights. (12) £100-150 159 Four milk glass vases and a jar and cover, 18th century, the vases of bottle form with long slender necks, the jar of baluster form and raised on a wide foot with incised bands, 17cm max. (6) £150-250

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160 Four glass fragments from the Nanking Cargo with comparable glasses, c.1750, with two Continental wine glasses with drawn trumpets over airtwist stems enclosing a long tear, a fragment of the same, two fluted tumblers and a matching fragment, a partial balustroid stem and part of an octagonal salt, 17cm max. (8) £100­150

161 Five English and Continental wine glasses, mid 18th century, three with bell bowls over plain stems and folded feet, another with a bell bowl over a double knopped airtwist stem, the last with a drawn trumpet bowl over a thick airtwist stem and conical foot, 18.5cm max. (5) £100-150

Provenance: the fragments sold at Christie’s, 28th April - 2nd May 1985, lot 1093.

162 Two Dutch engraved wine glasses, mid 18th century, one drawn trumpet bowl engraved ‘Sarah Sporne Lynn’ within stylized foliate sprays, the other with a griffin rampant and holding a staff, raised on plain stems enclosing a long tear above folded feet, 17.6cm max. (2) £100-200

163 Three French façon de Venise wine glasses, c.1740, the fine glass with a pale lilac tint, with trumpet or round funnel bowls, two on pedestal stems, one on a plain stem enclosing a tear, on folded and conical feet, 16.3cm max. (3) £60-80

164 Two Saxon or Bohemian engraved glass beakers, 19th century, the fluted forms engraved with detailed armorials, a small flask of flattened globular shape engraved with coats of arms, and two wine glasses, one engraved with Cupid and a French inscription ‘Bruler & se laire’, the other with a crowned monogram over a pedestal stem, 14.8cm max. (5) £100-200

165 Two glass baskets and stands, late 18th/19th century, one a ‘Liege à Traforato’ openwork basket, the other moulded with a honeycomb design and applied with leaf designs around the rim, and a glass butter tub or bowl with cover and stand, gilded with flower garlands, 24.2cm max. (7) £100-200 41

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166 Two Roman-style glass shallow bowls or dishes, 2nd half 19th century, one mosaic glass with millefiori inclusions in shades of brown and amber, the other simulating agate or chalcedony, 17.5cm max. (2) £100-200

167 A pair of armorial verre eglomisé glass dishes, late 18th/19th century, reverse decorated in gilt and enamel with a shield and crest for the Sewell family, the rim gilded and cut the other side with bands of polished circles, some flaking, 20.5cm. (2) £200-300

166 168 A pair of Continental glass flasks and stoppers, 19th century, the faceted cylindrical forms gilded with a shepherdess and her companion beside a Classical folly and leafy plants, some gilt wear, 19.5cm. (4) £100-200

169 A Scottish chip engraved wine bottle, dated 1835, of shaft and globe form, decorated with carpenter’s tools and the inscription ‘James Stevenson & Marrian Snaden Miles Mark 1835’ above a spray of thistle and rose, some scratching, 24.5cm. £150-250

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170 Eight glass roemers, 18th century, of pale bluish green hue, with cup bowls raised on thick hollow stems applied with varying raspberry prunts above narrow trailed feet, 13.2cm max. (8) £150-250

171 Eight glass roemers, 18th century, of pale green hue, with varying cup bowls raised on thick hollow stems applied with raspberry prunts over trailed feet, 16cm max. (8) £120-180

172 Eight green glass roermers, 18th/19th century, of varying hue, the cup bowls raised on thick hollow stems applied with raspberry prunts above trailed feet, 12.8cm max. (8) £120-180

173 Nine glass roemers, 18th/19th century, of varying size, of pale green and amber tones, with cup and rounded bowls raised on hollow stems applied with raspberry prunts over trailed feet, one with a plain folded foot, 16.6cm max. (9) £150-250

174 Three glass roemers, 18th century, of a delicate blue tone, with cup bowls, one with vertical moulded flutes, and three matching roemers, with hollow stems applied with raspberry prunts over tall trailed feet, 12.5cm max. (6) £150-250

175 Six green glass roemers, 19th century, of a rich emerald hue, the cup bowls raised on thick hollow stems applied with raspberry prunts, over trailed feet, two with plain folded feet, 13.7cm max. (6) £80-120

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177 176 Three English glass roemers for the export market, 18th century, two clear, one amethyst, with cup bowls raised on hollow stems applied with raspberry prunts, on tall conical feet with trailed decoration, 16.3cm max. (3) £100-200

177 An English green glass roemer, c.1790, with round bowl over a hollow stem applied with raspberry prunts, and two Continental roemers, one engraved with grapevine, on tall trailed stems applied with prunts, 18.5cm max. (3) £100-150 178

178 A set of eight green glass roemers, 19th century, the cup bowls raised on hollow stems applied with raspberry prunts above conical trailed feet, 12cm. (8) £250-350

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179 Eleven green glass roemers, late 18th/19th century, of emerald hue, with various cup and rounded bowls raised on hollow stems applied with raspberry prunts above tall conical and flat feet with trailed decoration, two with an enamelled rim, 15.5cm max. (11) £100-200

180 Eight pale green glass roemers, 18th/19th century, with tall or cup bowls raised on varying hollow stems applied with raspberry prunts above tall feet with trailed decoration, 16.4cm max. (8) £150-250

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181 Three engraved glass roemers, late 18th century, two engraved with sprays of rose, carnation and tulip, the last of a pale blue tone and engraved with a continuous band of grapevine, raised on hollow stems applied with raspberry prunts, and three Continental wine glasses of a pale green hue with plain teared stems, one engraved glass cracked, 15.2cm max. (6) £100-200

182 Four blue glass roemers, early 19th century, three probably English for the export market, of varying turquoise hue, with round cup bowls raised on hollow stems applied with raspberry prunts over conical trailed feet, and two similar green roemers with tall hollow stems, 16cm max. (6) £100-200

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183 Five small glass roemers, 18th century, four of a yellowish green hue, one amber coloured, with cup or round funnel bowls extending into hollow stems applied with raspberry prunts over tall conical feet with trailed decoration, 12.2cm max. (5) £100-200

184 A composite set of eight glass roemers, late 18th/19th century, the emerald green glasses with cup bowls raised on hollow stems applied with raspberry prunts over tall conical feet with trailing, 12.5cm. (8) £100-200

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185 Six glass roemers, 18th century, of a pale green hue, with cup bowls, four raised on thick hollow stems applied with raspberry prunts, two with flared hollow stems, one with a folded foot, 13.8cm max. (6) £100-200

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186 Five green wine glasses, mid 18th century, with cup-shaped bowls raised on slender hollow stems with shoulder knops, 14cm. (5) £100-200

187 Four moulded glass roemers, 18th/19th century, one of amethyst glass with a hammered bowl over a clear stem applied with raspberry prunts, three pale green, the last with a cup bowl engraved with a band of grapevine, with trailed feet, 15cm max. (5) £200-300

188 Six glass roemers, 18th century, four of a pale green hue, the last clear, all with rounded cup bowls raised on hollow stems applied with raspberry prunts, five above trailed feet, the last over a tall folded foot, 14.8cm max. (6) £100-200

189 Five green glass roemers, 18th/19th century, four with barrel stems applied with raspberry prunts over trailed feet, the last with a baluster stem over a folded foot, 11.7cm. (5) £100-150

190 A German glass ring beaker (ringelbecher) and two other glasses, 18th/19th century, the beaker with three loose ring handles, raised on a tall trailed foot, two flared beakers with trailed decoration, and a façon de Venise jar and cover with raspberry prunts applied to trailed bands, 14.8cm max. (5) £250-350

191 A small collection of coloured glass items, 18th century and later, including a façon de Venise solifleur vase with trailed decoration, a blue glass ewer with narrow spout and pinched handle, a green glass beaker applied with prunts, a spiral-moulded beaker, a small globe vase with trailed decoration, a small green bottle, and a large English blue glass jar, 16cm max. (7) £120-180

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192 A Spanish façon de Venise ‘gemel’ bottle or double cruet, 18th century, comprising two joined flasks for oil and vinegar, each tapering to a curved neck decorated with trailed bands, raised on a circular folded foot, 16.8cm. £150­250

193 A Spanish glass vase, 18th century, probably Recuenco, with a globular body rising to a flared neck trailed with a continuous spiral, the base of the neck applied with flowers and pinched handles, 21.2cm. £300­400

Cf. The Corning Museum of Glass, inventory nos. 64.3.25 and 2011.3.105 for similar bottles.

Cf. Victoria and Albert Museum, Accession No. C.244-1936 for a vase of similar form.

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194 A Spanish glass drinking bottle (porró), 18th century, with a long tapering spout, the neck moulded and curved, a glass ewer or serving bottle with narrow curved spout, and an unusual cover or cloche, of a pale blue tone, with folded rim, 24.3cm max. (3) £150-250

195 Three Continental glass ewers or jugs, 18th/early 19th century, the ewers of Persian form with thin curved spouts, the largest of square form with a spiral trail to the neck, the smaller a rich turquoise hue with everted rim, the blue jug with a bulbous rim and a cobalt tone, the large ewer lacking its handle, 19.5cm max. (3) £150-250

196 Seven Roman style glass objects or vessels, 20th century and earlier, including three jugs or ewers with narrow spouts, two small bowls or salts, one in the rock crystal manner, a narrow bottle with flared base, and a hollow stemmed goblet, 21.3cm max. (7) £80-120 196

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197 A Venetian or façon de Venise glass vase or reliquary, 17th century or later, the shoulder with trailed decoration applied with four raspberry prunts, raised on a fluted knop over a folded foot, and a goblet of a smoky brown tone, the ogee bowl moulded with fluting and dots above a small folded conical foot, 13.7cm max. (2) £300-500

198 Three Continental glass apothecary vessels, 18th century, one of squat jar form with everted folded rim, another thinly blown flask with a low globular body rising to a narrow neck with flared rim and spout, the last with an internal narrow pipe aperture, 18.5cm max. (3) £100-200

199 A Schwarzlot glass plate or stand, .1730, painted around the well in black monochrome with scenes including two figures carrying a sedan chair, a man on horseback, soldiers and a stag, all flanked by trees, raised on a low foot, 23.4cm. £150-250

200 A pair of Venetian goblets, 19th century, the generous bowls with light spiral moulding, raised on slender plain stems beneath blade knops, 14.6cm. (2) £80-120

201 A Salviati Venetian decanter and stopper, 19th century, the pale brown body trailed in vertical white stripes, and a small turquoise glass tulip vase, the globular body with four openings to the shoulder, the rims with trailed decoration, 28.3cm max. (3) £80-120 48

202 A Low Countries glass tulipière, 18th century, the flattened ovoid body rising to a single tall opening with twelve further openings, raised on a hollow baluster stem above a folded conical foot, some chipping, 36cm. £150-200

203 A large Spanish glass mug or tankard, mid 18th century, of a pale green tone, slightly tapering to the neck, applied with a wide blown handle with scroll terminal, 16.3cm. £150-250

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204 A Bohemian enamelled glass vase or humpen, 19th century, the cylindrical green body painted with knights between cloud scrolls enclosing the engraved initials ‘RT’, the neck and base applied with raspberry prunts, raised on a circular foot, 33.5cm. £100-200

205 A tall Bohemian glass vase, 19th century, the slender green body applied with an opaque oval painted with the portrait of a young girl in traditional dress, reserved on a dense gilded convolvulus ground, 42cm. £250-350

206 An overlaid glass bottle and stopper, 19th century, the wide flattened base flashed in white over a deep blue and finely painted with songbirds perched among flowers, the long neck cut with oval panels, 31.3cm. (2) £300-500

207 A Bohemian glass goblet and cover, 19th century, flashed in amber and finely cut with a figure on horseback chasing down a bull with a spear, the stem with a hexagonal knop above a flared foot, 31.2cm. (2) £150-250

208 A large blue glass punchbowl or tureen and cover, late 19th/20th century, the deep goblet shape of a rich turquoise hue, simply decorated with concentric gilt bands, the cover with a square aperture to accept a ladle, 37.5cm.

(2) £100-200

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209 An elaborate Continental glass model of a pipe, 18th century, probably Spanish, the long stem formed of a series of coils, twists and entwined sections, a three colour chain suspended from the stem with a spoiled anchor motif, some losses to the chain and motif, 58cm. £250-350

210 A Venetian wine glass or goblet, late 17th century, the generous round funnel bowl raised on a hollow ovoid stem above an angular knop and folded conical foot, 16.8cm. £400-600

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211 A Venetian or façon de Venise wine glass, late 16th/early 17th century, the funnel bowl raised on a hollow blown multi knopped stem with fluted moulding, 17.2cm. £300-500

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212 A Venetian or façon de Venise winged goblet or wine glass, 17th century, the funnel bowl raised on a slender stem composed of pinched and textured wings applied to twists enclosing red and white threads above a narrow knop, a repair to the stem, 21.5cm. £400­600 Cf. Hugh Tait, The Golden Age of Venetian Glass, p.88, no.140 for a similar glass.

213 A large façon de Venise goblet, 18th century, the rounded bowl engraved with stags between buildings and trees in a continuous landscape above moulded gadrooning, raised on a pincered and twisted winged stem around a figure of eight applied with raspberry prunts, over an angular basal knop and folded conical foot, the foot cleanly broken and reattached, 23.5cm. £150-250

214 A Venetian or façon de Venise winged wine glass or goblet, 17th century, the tall funnel bowl raised on an angular knop over a figure of eight coil twist stem enclosing red and white threads, applied with pincered wings, above a short plain section with basal knop, 22.6cm. £600-800

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215 A rare Venetian or façon de Venise tall latticino goblet, late 16th or early 17th century, the slender tulipshaped bowl rising from six graduating steps to the lower section, decorated in vetro a retorti, raised on a later metal foot, 37.3cm overall. £600­1,000 Cf. The Golden Age of Venetian Glass, p.65, no.80 for a similar complete example. Also, Catalogue of Glass in the James A. Rothschild Collection at Waddesdon Manor, pp.104-7 for a discussion on the possible North European attribution for this form of glass.

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216 An Italian gilt-metal mounted green glass vase, probably 17th century, the ovoid body lightly moulded and of an emerald green hue, mounted with four winged masks over vertical straps between fleur de lys borders, 26.3cm. £800-1,200 Cf. The British Museum, no.S741 for a comparable pair attributed to Venice.

217 A small German glass beaker, dated 1745, the fine body decorated with diamond point engraving by Canon August Otto Eurnst von dem Busch, with two cattle grazing beside a tree, signed at the base of the tree ‘Busch fecit 1745’, traces of gilding to the rim, a rim flaw, 7.4cm. £150­250 Canon August Otto Eurnst von dem Busch (1704-79) is also recorded as an amateur hausmaler decorator on Meissen porcelain, using a diamond point tool to engrave into the glaze and then rubbing lamp blacking into the incised decoration. Cf. Victoria and Albert Museum, Accession No. C.117-1945 for a plate with similar decoration.

218 A Bohemian sweetmeat glass, c.1750, of shell form. the bowl cut with polished ovals, raised on a faceted baluster stem, 12.5cm. £100-200

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219 Two American Three Mould blown glass decanters and stoppers, 1st half 19th century, the smaller probably Keene, of square form with hobnail bands between vertical flutes, the larger with an elaborate design of stars and foliate motifs, the neck with three rings, 25.7cm max. (4) £80-120 220 An American glass jar and cover, late 18th century, the base trailed with a chain design beneath a pinched rim, the domed cover surmounted with a chicken, 15.3cm. (2) £100-200 221 A Dutch hollow stem wine glass, c.1750, the deep round funnel bowl with diamond point engraving of stylized tulips and other flowers, raised on a tapering hollow stem above a folded foot, 15.8cm. £100-200 222 A Continental double-ended glass goblet, probably 20th century, one end with a slight bell bowl over an angular knop, the other with a long funnel bowl trailing to a hollow knop, engraved ‘Zygmont Winnowski’, 31.5cm. £100-200 Zygmont Winnowski was born in Yvelines, France on 6th January 1931. There is no obvious record of him as a glass maker.

223 A Saxon engraved wine glass or goblet of Hanoverian interest, c.1730-35, the round funnel bowl engraved with a galloping horse beneath the inscription ‘VIVAT land Hadeln’, raised on a six-sided pedestal stem over a folded conical foot, 17.2cm. £100-200 Hadeln (a province in Lower Saxony) was incorporated into the Kingdom of Hanover in 1731.

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224 A Dutch-engraved wine glass or goblet, mid 18th century, the slender funnel bowl engraved with the arms of Utrecht beneath the motto ‘Vigilate deo confidentes’ translating to ‘Watch, trusting in God’, raised on a baluster stem with central knop enclosing a single tear, over a domed foot, 19.5cm. £500-800

225 A Dutch-engraved wine glass or goblet, mid 18th century, the bowl engraved to one side with a studded cartouche enclosing a ship at sail, the reverse inscribed ‘HET, LANS WEEL VARN’ (the prosperity of the country), the base of the bowl faceted and raised on a cut baluster stem above a folded foot, a repair to the stem, 17.8cm. £150-250

226 A Dutch-engraved wine glass or goblet, dated 1762, one side engraved with an armorial with a stag crest, the reverse inscribed ‘DE STANDVASTIGE VRIENDSCHAP’ (the steadfast friendship) with olive branches, raised on a baluster stem enclosing a long tear, 15.5cm. £150-250

227 A large Silesian or Bohemian armorial goblet, 18th century, the hexagonal bowl engraved with coats of arms flanked by lions and griffins, one side inscribed ‘Louis Forneau de Chayelle’, the reverse with initials in a banner, the rim with lion masks issuing foliate sprays, the stem lacking, some chipping, 16.8cm. £150-250 55

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228 A massive Saxon ceremonial goblet, mid 18th century, the deep round funnel bowl engraved to one side with two gentleman embracing while grapevine twines around them, inscribed in German with ‘Aus reben wird ein liebes band’ (‘Vines become a love bond’), the reverse with a gentleman replacing the cover on a goblet held by his friend, inscribed in German ‘Am trincken wird ein freund er bannt’, (‘A friend is stopped from drinking’), raised on a hollow baluster stem, a replacement wooden foot, 37.8cm. £300-500

229 A Dutch engraved Royal armorial goblet, 1st half 18th century, the deep funnel bowl engraved with two figures flanking a shield with a hunting horn and polished circles beneath a crown with small crosses and Prussian eagle motifs around, raised on a cut baluster stem above a replacement metal foot, 22.6cm. £150-250 The armorial probably relates to a member of the House of Orange.

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230 A massive Saxon engraved armorial goblet, c.1740, of ceremonial size, engraved to one side with a coat of arms surmounted by putti holding a mitre and staff either side of a bishop or abbot holding a building, the reverse with a mitre flanked by putti above a scrolling motif, raised on a faceted baluster stem, repaired in the 19th century with Continental silver mounts, the bowl broken and restuck, 48.3cm. £150­250 Provenance: Christie’s, 24th February 1981, lot 267.

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231 A tall Saxon glass armorial Reichsadler humpen, inscribed 1599 but perhaps later, the cylindrical body painted in cold enamels with the double-headed eagle between the 56 states of the Holy Roman Empire, flaking to the enamels, 39cm. £800-1,200 Four paper collection numbers to the base.

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LOUIS LUCIAN LIPSKI (1914-1979) Louis Lucian Lipski was born in Warsaw in 1914, the son of a chemist, and trained as an architect. He inherited his love of art from his mother, an amateur painter. He was on holiday in England when war broke out in 1939 and was unable to return to Poland. Putting his training to good use, he started work on repairing bombed out houses in London and developed an interest in the delftware tiles that he sometimes rescued from damaged fireplaces. In common with his fellow collector, Professor Frederic Horace Garner, Lipski took advantage of the destruction that the Blitz wreaked on London during the 1940s – both salvaging architectural gems and examining sherds that had been unearthed in sites such as Lambeth and Vauxhall. From here his fascination with English delftware grew, and although tiles remained his first love, he amassed a collection of considerable scope and expertise.

Following his death in 1979, the bulk of his collection was sold across three significant auctions at Sotheby’s in 1981 and 1983. Following those sales, the remainder of the tile collection that had first inspired him was bequeathed to his friend, Robert Jesse Charleston, Keeper of the Department of Ceramics at the Victoria and Albert Museum between 1963 and 1976. Charleston was himself a contributor to several reference works ­ including World Ceramics: An Illustrated History, which has had 47 editions published – and also contributed significantly to Lipski’s treatise on Dated English Delftware. This valuable reference work was published posthumously in 1984 with the assistance of Michael Archer, with whom Lipski had worked tirelessly on identifying and cataloguing thousands of objects.

In his lifetime, Lipski kept the majority of his tile collection stored in boxes and in the drawers of a plan chest, which could be pulled out for examination by any keen scholar who happened to visit. Following his death, Charleston generously donated 177 tiles to the Victoria and Albert Museum, which transformed the scope of the museum’s collection. The remainder stayed in Charleston’s own collection and has passed down his family since then.

It is an honour to now bring to the market examples from the tile collection that started Lipski on his journey in the academia of English pottery, and which tied him to so many other key ceramic historians. The collection includes several sets of tiles, including a rare but presumably bomb­damaged set of 10 Liverpool tiles printed by Sadler and Green with scenes from Aesop’s Fables (lot 260). The four key areas of production (London, Bristol, Wincanton and Liverpool) are all represented, with examples spanning across the 18th century. Lipski continued to add to his collection throughout his life and several tiles were acquired from the collection of John Eliot Hodgkin. Hodgkin (like many delftware collectors a scientist and engineer) died two years before Lipski was born, but was an early authority on British ceramics and would certainly have had much in common with both Lipski and Charleston had their paths ever had chance to cross.

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232 Four Delft tiles, late 17th century, two painted with birds in blue, green, ochre and manganese, within blue circular panels, another with a butterfly perched on a flower stem, the last with a symmetrical flower spray, within geometric blue corners, some chipping, 13cm. (4) £250­350 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

234 Four Liverpool delftware tiles, c.1750-75, painted in blue with octagonal panels containing buildings including a church, windmill and tower in harbour settings, within ‘Louis XV’ borders with diaper corners, a little chipping, 12.8cm max. (4) £150­250 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

233 Four Bristol delftware tiles, c.1750-70, painted in the Bowen manner with figures, boats and buildings beneath tall sponged trees in waterside landscapes, 12.8cm. (4) £200­300 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

235 Four Lambeth delftware botanical tiles, c.1760-80, finely painted in blue, each with a single flower stem including peony, ranunculus and rose, with stylized corner motifs, 12.8cm. (4) £250-350 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Illustrated: Anthony Ray, English Delftware Tiles, pl.48, nos. 471-474.

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236 Six delftware Biblical tiles, c.1750-75, mostly London, painted in blue and manganese, four within circular panels, with scenes of the Crucifixion, Abraham dismissing Hagar, Joseph being put into a pit, the Mocking of Elisha, and two with the Baptism of Christ, one broken and restuck, 12.9cm max. (6) £200­300 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

237 Eight delftware tiles, c.1725-50, London and Bristol, variously painted with octagonal and shaped panels of flowers in vases and baskets, reserved on a powdered manganese ground with carnation and quarter flowerhead corners, some damages, 12.8cm max. (8) £150­250 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

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238 Five delftware tiles, c.1760-90, three probably Liverpool and painted in manganese with baskets of flowers over diaper panels, two other Liverpool and painted with vases of flowers in blue or manganese, and a Dutch Delft tile painted with a vase of flowers within fleur de lys corner motifs, the latter broken and restuck, 13.3cm max. (6) £100­200 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

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239 Six delftware Biblical tiles, c.1720-50, two Liverpool and decorated with the Stoning of Stephen and Christ appearing to Mary Magdalen, within octagonal panels on a powdered blue ground, the rest London and painted with Daniel in the lions’ den, the Mocking of Elisha, and two with Jonah under the gourd, 13cm max. (6) £150­250 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

240 Five Bristol delftware tiles, c.1750-70, painted in blue, three with vases of flowers, two with flowering plants, all within stud borders and sunflower corners, some damages, 12.7cm. (5) £100­200 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

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Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

242 Four Liverpool delftware tiles, c.1725-50, well painted in blue with large flower arrangements issuing from two-handled vases decorated with lion masks, within quarter flowerhead corners on a powdered blue ground, 12.5cm. (4) £250­350

Cf. Anthony Ray, English Delftware Tiles, pl. 45 for tiles with the same designs in a Fazackerly palette.

Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Cf. Anthony Ray, English Delftware Tiles, p.215, no. 500.

243 Four delftware tiles, c.1750-70, Bristol or Liverpool, two painted in blue with buildings on an island, one in manganese with a cow grazing beneath trees, the last in manganese with a flower spray, all within studded borders with sunflower corners, some chipping, 13cm. (4) £100-200

244 Four London delftware tiles, c.1725-40, each painted in blue with a simple flowerhead rosette to the centre, the corners with quarter rose motifs, some chipping, 12.7cm. (4) £150­250

241 Four delftware tiles, c.1755-75, probably Liverpool, each painted in manganese with a curved flower stem within feathery corners, a few small chips, 12.5cm. (4) £150­250

Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Cf. Jonathan Horne, English Tin-Glazed Tiles, p.41, no.184.

245 Four Liverpool delftware tiles, c.1750-75, painted in blue with octagonal panels containing figures in landscapes, within ‘Louis XV’ borders with diaper corners, three with a corner lacking, 12.5cm. (4) £100­200

246 Four delftware tiles, c.1750-70, Bristol or Liverpool, two painted in blue and two in manganese with a stylized flowering plant within a continuous floral scroll border, some chipping, 12.8cm. (4) £100­200

Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Cf. Anthony Ray, pl.21 no.208.

Cf. Anthony Ray, English Delftware Tiles, pl.44, no. 442 for a manganese tile attributed to Bristol. Sherds of this pattern in blue were excavated at the Gilbody site in Liverpool in 1966.

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247 Two Liverpool delftware woodblock printed tiles, c.1756-7, printed in blue by John Sadler, one with a European couple taking tea at a table beneath a rococo arbour, the other with three figures at a Chinese altar, within ‘Louis XV’ borders with floral corners, some chipping, 12.8cm. (2) £150­200

248 An unusual pair of delftware tiles, c.1700, probably London, painted in a bright blue with a circular panel of a shepherd and a shepherdess tending their flock, reserved within a flowerhead panel on a powdered manganese ground, with heart-shaped motifs to the corners, 12.7cm. (2) £100­200

Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Cf. Anthony Ray, English Delftware Tiles, pl.9, no.102 for a similar tile.

249 249 Three delftware bird tiles, c.1750-70, probably Bristol, painted in manganese, each with a large bird strutting beside low rocks, two with their heads turned, some chipping, 13.2cm max. (3) £200-300 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Whilst sharing attributes with pheasants or peacocks, these birds probably derive from those being depicted on English porcelain (especially at Worcester and Chelsea) of the same period.

250 An unusual pair of Liverpool delftware tiles, c.1770, painted in blue with a double grapevine stem issuing leaves and grapes, 13cm.

(2) £100­150 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Cf. Jonathan Horne, English Tin-Glazed Tiles, p.69, no.395.

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251 Two Liverpool delftware woodblock printed tiles, c.1756-7, printed in blue by John Sadler, one with a gallant kissing the hand of a maiden, the other with hunters beside a rococo fountain, within octagonal panels enclosed by ‘Louis XV’ borders, some damages, 12.7cm.

(2) £150-200 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

The decoration on both tiles is taken from Johann Esaias Nilson’s ‘Coffee, Tea and Tobacco Ornament’.

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252 Two rare delftware tiles, c.1750-70, probably Liverpool, simply decorated in blue with a central flower sprig, the corners with unusual flower stem motifs, some glaze chipping, 12.7cm. (2) £100­200 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Cf. Anthony Ray, English Delftware Tiles, pl.44, no.435 for a tile with the same corners.

253 Two delftware animal tiles, c.1760-75, probably Bristol, painted in manganese, one with a large cat standing with his back to the viewer, the other with a recumbent cow and sheep, one broken and restuck, 13.4cm max. (2) £100­200 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Cf. Jonathan Horne, English Tin-Glazed Tiles, p.50, no.253 for an identical cat tile. Horne suggests that these may have been adapted from drawings in The Ladies Amusement.

254 Three delftware tiles, c.1750-70, probably Liverpool, two painted in manganese with two goats lying or standing in a meadow, the last in blue with a single billy goat standing with head slightly turned, restoration to two, 13.3cm max. (3) £120-180 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

The designs on these tiles derive from etchings by the Dutch artist, Nicolaes Berchem (1620-83).

255 Four delftware tiles, c.1750-75, one Bristol and painted in manganese with a figure punting in an island scene, another probably Liverpool and painted with two stylized swans swimming before harbourside buildings, another painted in blue with a panel of boats and buildings, the last with a scribbled manganese design to each corner, some chipping, 12.8cm. (4) £100­200 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

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256 Five Liverpool delftware tiles, c.1740-60, painted in manganese with varying scenes including a haymaker, two travellers in the countryside, a ship at sail, a swan swimming, and a village landscape, all with tall trees, 12.7cm. (5) £150­250 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

257 Five delftware tiles, c.1750-70, probably Bristol and Liverpool, painted in blue and manganese with a vase of flowers perched above a diaper panel with flowerheads, the corners with pomegranate motifs, two with manganese numbers to the reverse, 13cm max. (5) £100­200 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Cf. Jonathan Horne, English Tin-Glazed Tiles, p.72, pls. 417 and 418.

256 258 Three Liverpool delftware tiles, c.1750-75, painted in blue with octagonal panels of buildings and boats, one with a water mill, another with two swans in a harbour scene, within ‘Louis XV’ borders with diaper corners, 12.7cm. (3) £100­200 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

259 Eight Lambeth delftware tiles, c.1725-60, each painted in blue with a large rosette or stylized rose design, some glaze chipping, 12.5cm. (8) £300­500 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Cf. Victoria and Albert Museum, Accession No. C.5-1955 for an identical tile given by R J Charleston and probably from the same set. Garner excavated many sherds with this rosette from the Lambeth site.

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260 Ten Liverpool delftware Fable tiles, c.1770-85, printed by John Sadler in a dark red with scenes from Aesop’s Fables, including The Lark and her Young Ones, the Hare and the Tortoise, the Crow and the Pitcher, the Fox and the Crow, the One-Eyed Doe, the Fox and the Lion, the Two Travellers and the Bear, the Fox and the Monkey, the Hunter, the Fox and the Tiger, and the Jackdaw and the Sheep, within ‘88’ borders, damages and repairs, 12.8cm. (10) £500-800 Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Many of the engravings were taken from Samuel Croxall’s edition of the Fables, published in 1722. Others were taken from the earlier version by Ogilby, published in 1665 by Thomas Rycroft.

261 Four Liverpool delftware printed tiles, c.1775-80, printed in black by John Sadler, three with scenes of dandified gentleman, ‘A Six Weeks Tour to Paris’, ‘A Macaroni at a Sale of Pictures’ and ‘The Marquis and his Valet’, mounted in later wooden frames, the fourth tile with a Cleric drinking wine with two gentlemen, all within ‘88’ borders, 13.8cm overall max. (4) £150-250

262 Six early printed Liverpool delftware tiles, c.1757-65, printed by John Sadler in black with scenes including a boy watching a girl blowing bubbles, a man having a tooth extracted, figures carousing in front of a tavern, three with a shepherd surprising a sleeping shepherdess, broken and repaired, 13cm. (6) £150­250

Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

The scene of the first tile is taken from a print titled The Englishman in Paris after John Collet; the other two are adapted from prints by Brandoin.

END OF COLLECTION

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263 A Liverpool delftware tile, c.1755-75, well painted in polychrome enamels with a lady seated before a stone balustrade, wearing a yellow dress with ochre bodice, mounted on a later wooden board, restoration to one corner, the tile 12.6cm. £300­500 Cf. Anthony Ray, English Delftware Tiles, pl.22, no.215.

264 A rare delftware tile, c.1750-75, probably London, painted in manganese with a square panel containing a chinoiserie design of a single figure travelling through a landscape, within a blue geometric design, 12.7cm. £250­350 Cf. Anthony Ray, English Delftware Tiles, p.231, no.576 for a similar example.

265 A rare Liverpool delftware tile, c.175075, painted in blue with swans swimming before buildings in a harbourside scene, reserved on an octagonal panel with putti corners, later mounted on a wooden board, the tile 13.3cm. £200-300

Provenance: the collection of David & Jan Birley.

266 Two London delftware tiles, c.1720-40, painted in blue with travellers in a landscape, at the waterside and beneath a tall tree, mounted in later wood frames, 20cm overall. (2) £100-200

266

267 Fifteen Delft Biblical tiles c.1700-40, Dutch and English, painted in blue with varying scenes including Joseph being put into the pit, Moses receiving the tables of the law, the death of Jezebel, Christ in the garden of Gethsemane and Jacob wrestling with the Angel, some damages, 13cm. (15) £300-500 66

268 Five delftware tiles, mid 18th century, two London and painted in blue with foxes or dogs beside small fringed trees, two Liverpool and painted in manganese with a bull and two stags, one with flowerhead corners, the last Liverpool and painted in blue with two sheep, in a later glazed frame, the tiles 13cm max. (5) £500-700

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269 Two delftware animal tiles, c.1760-75, one probably Lambeth and painted with a boar being attacked by dogs, within an octagonal panel on a powdered manganese ground, the other Liverpool and painted in blue with a stag and doe within a shaped cartouche, the corners with quarter flower motifs, 12.7cm max. (2) £300-500 The design of the Liverpool tile is taken from The Ladies’ Amusement but omits a fawn.

270 Two London delftware bin labels, c.177080, of coat hanger form, one inscribed ‘CONSTANCIA’, the other ‘MADEIRA’, both in manganese, 13.5cm across. (2) £1,000-1,500 Constantia was a South African dessert wine that was widely exported to Europe during the 18th and 19th centuries. It is referenced in Jane Austen’s Sense and Sensibility when Mrs Jennings recommends for Marianne a glass of “finest old Constantia wine” to cure her broken heart.

269

271

270

272

271 A delftware plate, dated 1705, painted in blue with the letter T over G D within a scroll cartouche flanked by winged griffins, surmounted by a crown and with a tasselled border, a 5.5cm rim crack, 25.5cm. £250-350

272 A Delft plate, dated 1692, painted in blue with the initials ‘AC’ above the date 1692, within a shaped cartouche formed of griffins and a mask beneath a crown, a 4cm rim crack, 22.4cm. £500-800

273 Charles II - Importation of Earthenware By the King, a Proclamation Prohibiting the Importation of Earthenware, printed in London

by John Bill and Christopher Barker, 1676, printed with a woodcut armorial device at the upper margin, some damages, framed and seemingly glued to the mount, 42cm x 30.5cm (the paper). £80-120

273

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274 A large Delft circular charger or dish, mid 18th century, painted in red, blue, green and yellow with two birds flanking a large stylized vase of flowers, the rim with five leaf panels reserved on a diaper ground, blue AB monogram mark, 43cm. £200-300

275 An unusual Delft plate or charger, c.1720-30, painted with stylized flowerheads in manganese, yellow and ochre reserved on a dense green and blue leaf ground, 31.8cm. £200-300

276 A Vauxhall delftware plate, c.1710-20, painted in blue, red and green with a basket of fruit and flowers within formal scroll borders, a riveted crack, 29.5cm. £150-250

277 An Italian maiolica plate, c.1760, painted in polychrome enamels with a bird perched on the side of a flowering branch, another in flight above, beside a tall vase of flowers, the rim with a narrow floral and trellis panel border, 23.3cm. £100-200 Paper label for the Mary & Peter White Collection.

278 A small London delftware plate, c.1700, of primitive shape, painted in red and blue with a central geometric flowerhead design, the rim with a trellis border, a few small rim chips, 20.8cm. £200-300

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279 A Savona maiolica plate, late 17th/early 18th century, painted in blue with a central putto carrying a tray of fruit within stylized floral sprays, large lantern mark to the underside, a little rim chipping, 31.7cm. £200-300

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280 A large Bristol delftware plate, c.1750-60, probably Temple Back pottery, painted in blue with a Chinese lady holding a fan beneath a tree, and a delftware shallow bowl, probably Lambeth, painted with a Chinese figure carrying a stick, the rim with flower sprays on a powder blue ground, 29cm max. (2) £100-200

281 A delftware plate and a saucer dish, c.1750, probably London, painted to the wells in a bold polychrome palette with Oriental flower sprays and a two-storey pagoda, the rims with flying insects and flower sprays detailed in yellow on a powdered manganese ground, 22.5cm max.

(2) £200­300 Provenance: the collection of Sir Frederick Warner; acquired from Christie’s, 2nd June 1975, lot 232, formerly in the collection of Mrs G I Cameron.

282 Two small delftware plates, c.1720, one probably London and painted in red, green and blue with three flowering plants issuing from a small floral roundel, the other with a central sunflower type motif within concentric circles, 22.5cm max. (2) £200-300

283 A small delftware plate, 18th century, possibly London, painted in blue with a footed bowl of fruit and flowers, the rim with a stylized swag design, and a Delft plate in a near identical design, 21.2cm max. (2). £200-300 The English plate with a paper collection label for the Lipski Collection, no.879

284 Two delftware chargers, c.1740-60, one painted in blue with polychrome highlights, with a large spray of peony within a formal leaf border, the other in blue and manganese with an asymmetric flower spray within a continuous border, 33.8cm max. (2) £150-250

285 A large Bristol delftware charger, c.1760-70, painted in blue with figures in a boat and fishing beside a fence in an island landscape, within a bianco-sopra-bianco border, and another charger painted with a landscape scene within a wide border enclosing four shaped panels between chrysanthemum spray motifs, some chipping, 34.2cm max. (2) £200-300 69

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286 A London delftware milk tureen or broth bowl and cover, c.1690, the circular form painted in blue and black with panels of Oriental flowers, the interior moulded with a pierced straining compartment, 28cm across.

(2) £400-600

287 A delftware pounce pot, mid 18th century, the slightly lobed form with a gently recessed top set with an arrangement of small holes, decorated in a white glaze, some glaze chipping, 7cm. £200-300

288 A London delftware strainer or cover, c.1775, the circular form painted in blue with flowering peony branches and pierced with three concentric rows of small holes around a central aperture, 22.5cm. £200-300

289 A delftware plate, c.1760-80, the well painted in blue with two figures crossing an arched bridge over a canal lined with trees, the rim with a trellis band enclosing half flowerheads, 22.8cm. £100-200

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290 A Delft teabowl and saucer, mid 18th century, painted in blue, yellow and manganese with a stylized floral design within a narrow hatched border, minor faults, 11.7cm. (2) £250-350

291 A small or toy-sized Delft teapot and associated cover, 18th century, the squat globular body painted in blue and manganese with a Chinese figure seated beside rocks and trees, the spout and handle with blue dashes, the spout broken and restuck, 14.5cm across. (2) £100-200

292 Two Delft teapots and covers, early 18th century, one decorated in red, green and blue with a dense floral design beneath a ruyi scroll border, the other in blue with stylized peony blooms within geometric leaf scrolls, with short straight spouts and large handles, and a Delft hot water jug painted in blue with a trellis panel between flowering branches, some damages and restoration, one cover a plaster replacement, 17.5cm max. (5) £400-600

293 A group of Dutch and English Delft teawares, 18th century, including a teapot painted in blue with a Jumping Boy beneath the spout, the sides with flowering branches, a saucer painted with similar figures, three saucers painted with birds, one with a landscape, another with cattle pulling a plough, a teabowl painted with flowers, a smaller teabowl with rabbits, another with angel heads, damages and restoration, 20cm max. (11) £200-300

294 A collection of Dutch and English Delft teabowls and saucers, c.1740-60, a matching teabowl and saucer painted in polychrome enamels with bold flowering branches, three saucers with polychrome floral and panel decoration, three painted in blue with formal designs or peony sprays, two small teabowls with similar decoration and another with a trellis design in red and green, some damages and restoration, 12.7cm max. (11) £200-300

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295 A pair of London delftware plates, c.1760, painted in polychrome enamels with birds perched on reeds beside flowering branches, and a dish of primitive shape painted with a long-tailed bird above a banded hedge, some glaze chipping, the last plate cracked, 22.3cm max. (3) £200-300

296 A Delft Crucifixion charger, late 17th century, painted in blue and black with Christ upon the cross between sponged trees, the rim with a continuous scroll design, the reverse decorated in a buff lead glaze, two riveted cracks, 36.3cm. £150-250

297 A London delftware plate, c.1770-80, painted in blue, green, red and yellow with a central peony spray, the rim with three further flowering branches within a narrow panelled border, 23.1cm. £100-150

298 Three delftware plates, c.1760, one Lambeth (Abigail Griffiths) and painted with a Chinese figure seated in a landscape, another London and decorated with flowering peony and holey rockwork, the last a Bristol soup bowl painted in blue with a Chinese landscape, the scalloped rim with bianco-sopra-bianco scrolls, some restoration to two, 22.8cm max. (3) £100-200

299 A pair of Delft or faïence small vases or jars, late 18th century, painted in blue and manganese with insects in flight above flowering branches, each applied with two rope twist handles, some damages, 11cm high. (2) £100-200

300 An unusual Delft stepped plinth or stand, mid 18th century, the front painted in blue with a figure in a sampan above a rocky pagoda landscape, the sides with flower sprays, blue P mark for De Porseleine Schotel (The Porcelain Dish), some chipping, 16.3cm across. £300-500

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301 A large study collection of Dutch and English delftware fragments, 17th and 18th centuries, including a number of charger centres decorated in blue and in polychrome enamels with tulips, pomegranates, animals, flowers and geometric designs, some fragments of early faïence and maiolica, together with a copy of the Northern Ceramic Society Journal Volume 30, 2014, in which some of the fragments are illustrated, and two copies of the journal of the Netherlands Friends of Ceramics Association.

(A lot) £150­250 Provenance: The Dr John Black Collection.

301

303 Four delftware plates, c.1740-70, one small plate of primitive shape painted in blue with a squirrel, another with simple stylized floral design, one in red, blue and green with a bird perched in a tall tree, and a plate painted with a reclining Chinese figure conversing with a standing figure gesticulating towards a bird, some faults, 23cm max. (4) £300-500

302 A large Spanish faïence charger, 17th century, painted in blue and manganese with a tall tower or minaret beside smaller buildings, and a Delft charger decorated with a dense stylized foliate design, damages, 42.5cm max. (2) £150-250

304 Three Delft chargers, 18th century, one with a shaped rim and boldly decorated with feathery foliage and a panelled border, mark for The Hatchet (Het Bijltje) factory, one painted with flowering plants, the last with a vase of flowers on a low table, minor damages, 34.5cm max. (3) £100-200 73

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305 An unusual Delft vase, c.1660-80, the baluster body painted with three fan-shaped panels depicting Chinese figures beneath trees in landscapes, above a stiff leaf border, the neck with a continuous foliate scroll, some repairs to the neck and foot, the cover lacking, 23.3cm. £500-700

307 A Delft vase, late 17th century, of octagonal form, decorated in the Chinese Transitional manner with peacocks and other birds amidst flowering plants, the neck and shoulder with stiff leaf bands, GK monogram mark probably for Ghisbrecht Cruyck, the cover lacking, 16.5cm. £150-250 74

306 A large Delft vase, 18th century, of octagonal baluster form, painted in underglaze blue with small panels of birds among flowering branches reserved on a dense foliate ground with large floral panels, AK monogram mark for Adriaen Kocks, 47cm. £300-500

308 A Continental tin-glazed vase, 18th century, Delft or Nevers, the fluted bottle form decorated in white enamel on a bleu Persan ground with a European figure standing between tall plants, the reverse with a Chinoiserie figure seated in a garden setting, some chipping to the rim, 18cm. £100-200

309 A German faïence pewter-mounted jug (enghalskrug), c.1690, the globular body spiral moulded and left in the white, some repairs, the mount a replacement, 25.2cm. £200-300

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310 A massive pair of Delft or faïence tulipières, 18th/19th century, of fan shape, each with seven separate openings heavily moulded with a leaf design, above a moulded floral panel including rose and convolvulus, applied with S scroll handles, some damages, 38.3cm high. (2) £1,000­2,000 Provenance: from an English private collection.

311 A large delftware plaque and a model of a cabinet, 19th/20th century, the plaque painted in blue with figures skating on a pond beneath trees, signed ‘B C Koekkock’, the cabinet with panels of figures at rural pursuits, APK monogram mark after Koeks, and two modern porcelain models of wagons or carriages in the Delft manner, 53.5cm max. (4) £100-200

312 A Delft wall plaque, c.1720, the shaped form painted to the centre with insects in flight around a central vase of flowers, the integral frame with panels of flowers and auspicious objects alternating with trellis and floral scrolls, a little glaze chipping, 27cm across. £300-500

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313 A rare Dutch or English delft holy water stoup, 18th century, moulded with Christ crucified between two winged figures, surmounted by an angel head, the bowl with vertical ribs, the details picked out in shades of blue, broken and repaired, 17.4cm. £200­300

314 A small Delft bust of a woman, 18th century, wearing a low cut floral patterned robe, a cross suspended from a necklace, her hair elaborately tied, raised on a waisted square socle base painted with green leaves and red ovals, a few small glaze chips, 14.5cm. £100-200

Cf. Garry Atkins, A Catalogue of English Pottery 2009, for a previously unrecorded English example.

315 A London delftware drug or apothecary jar, c.1680, painted in blue with two peacocks and leaf sprays flanking the head of Apollo, above a cartouche inscribed ‘C. SALVIAE’, beneath with an angel and floral garlands, the base drilled, 17.6cm. £400-600

316 A small Delft albarello, late 18th century, the slightly waisted form decorated with a cartouche inscribed ‘OE SYPI: HUN:’ in manganese on a rich yellow ground, surmounted by a stag, raised on a narrow foot, a little chipping, 13.3cm. £300-500

Sage (Salvia) is high in anti-oxidants and continues to be used in the treatment of a number of digestive ailments. It is also thought to be effective in counteracting the effects of memory loss and depression.

Oesypus humida is wool fat or lanolin, which continues to have a variety of practical uses as a greasing agent, protective coating and moisturiser.

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317 Two English delftware drug jars, c.1700-40, painted in blue, one with a shaped cartouche inscribed ‘U: SAMBUCIN’ beneath a basket of fruit flanked by birds, the other titled ‘U: ALBUM’ beneath a shell flanked by angels, and a creamware syrup jar, c.1780, painted in brown with ‘SYR: VIOLAE’, the reverse with a straight spout moulded with a mask, some damages, 19.3cm max. (3) £1,500-2,000 Oleum Sambucinum is a liniment made by boiling elderflowers in olive oil and was used to treat colic. Unguentum album combines white lead, white wax, egg white, oil of roses and rose water to create an ointment used to treat burns.

318 A Savona maiolica albarello, late 17th century, the dumbbell form painted with figures walking, running and riding through a European landscape, above and below a scroll inscribed ‘ Conf: Hamec’, the shoulder bearing the initials ‘F.R’, lighthouse mark, some chipping to the footrim, 20.6cm. £150-250

319 An Italian maiolica armorial albarello, c.1720, probably Naples, of dumbbell form, the narrow waist inscribed in blue with ‘BENEDETTA. LAX’, on a scroll amidst leafy branches, above a shield decorated in polychrome enamels, containing a tree and the initials ‘D I’, a repaired rim chip, 20cm. £200-300

Hamech’s Confection was a purgative preparation reputedly named after an Arab physician. Among other ingredients it contained rhubarb, senna leaves, agaric and colocynth.

Benedicta (Benedetta) laxativa is a laxative electuary made from turpeth root and other ingredients.

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320 A Sicilian maiolica albarello, 17th/18th century, the slender waisted form painted with the profile portrait of a soldier wearing a peaked helmet, in blue on a yellow panel reserved on a ground of fruiting branches, a repaired chip to the footrim, 25.8cm. £400-600

321 A Montelupo maiolica albarello, c.155080, painted in blue, green, yellow and ochre, with St Paul within a leaf and flower garland above a banner inscribed ‘Si: Acetoso’, the interior with a buff lead glaze, 17.4cm. £300-500 This jar would have contained dried sorrel, which had a variety of uses including reducing swelling, treating bacterial infections and as a diuretic.

323 A Caltagirone maiolica albarello, c.1680, painted in blue, green, yellow and manganese with a continuous flower garland between horizontal bands of scrolling foliage, a rim crack, 19cm. £300-500

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322 A Sicilian maiolica albarello, 17th/18th century, the slender waisted form painted with a portrait of a saint, standing with hands clasped and a large halo behind his head, reserved on a yellow panel on a ground of fruiting branches, some chipping, 26.5cm. £400-600

324 A large Caltagirone maiolica albarello, c.1660-80, the tall cylindrical form painted in yellow, ochre and green with scrolling flowering branches reserved on a blue ground between concentric bands of varying thickness, a rim crack, some glaze loss, 26.5cm. £500-700

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325 A Montelupo maiolica jug, c.15th century, the swollen body simply painted in blue and green enamels with an owl, contained in a circular panel reserved on a ground of scrolling foliate motifs, with a wide strap handle and pinched spout, some glaze wear and chipping, 16.5cm high. £1,500­2,000 Cf. Faustio Berti, La Maiolica di Montelupo, pl.59.

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326 A large Seville maiolica jug, c.1770-80, the ovoid body painted with a figure on horseback blowing a bugle, a long-tailed bird in the horse’s path, flanked by large stylized floral sprays in ochre, yellow, green, blue and manganese, damages, 35.5cm. £300-500

327 An Italian maiolica syrup or wet drug jar, c.1700, the ovoid body titled ‘UNG to BASILICO’ in manganese on a blue band beneath a small landscape panel, within a large bead border in shades of blue, yellow, ochre and manganese, applied to the reverse with a double strap coiled handle, some glaze wear and chipping, 21cm. £300-500

328 A German faïence drug jar, late 18th century, possibly Schrezheim, inscribed in black with ‘Elect Diascord’ between leaf swags, above the foot numbered 14, 18.3cm £100-150

329 A Continental lead-glazed drug jar, late 18th/19th century, possibly Nove, the globular body painted in black with an inscription in Gothic script, between leaf swags in blue and black, a roundel enclosing the initials ‘IP’, 18.7cm high. £200­300

Electuarum Diascordium was a concoction used against venereal disease.

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Cf. Rudolf E A Drey, Apothecary Jars, pl.33B for a tin-glazed jar with very similar decoration.

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330

330 A North enamelled with back of a large shades of blue, foot, 32cm.

331

Italian maiolica charger, c.1720, boldly a putto carrying fruit and standing on the dog, the rim with a fabric swag design in yellow and ochre, raised on a low circular £200-300

331 A rare Montelupo maiolica charger, late 17th century, painted with a woman standing and winding yarn from a drop spindle, reserved on a deep yellow ground, some rim sections broken out and restored, 31.8cm. £250-350

332

332 A Spanish faïence bowl, 18th century, painted in blue, green, ochre and manganese with a stylized flower spray, and a Moustiers plate painted in green and manganese with a young traveller flanked by tall plants, 25.8cm. (2) £100-200

333 Nine Spanish Arista architectural tiles, 16th/17th century, moulded and brightly enamelled, each tile with half of a quatrefoil motif enclosing stylized foliate scrolls, in blue, green, manganese and ochre, some damages, 24.5cm max.

(9) £200-300 333 81

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334

335 334 A late Safavid (Iran) cuerda seca tile, 17th century, decorated with two figures, one seated and playing a stringed instrument, the other standing beside, amidst flowering plants reserved on a rich yellow ground, within a turquoise and blue border, 23cm. £500-800

335 A Qajar Iznik-style dish, mid 19th century, the well decorated with a stylized carnation spray within three differing floral bands in blue, green, manganese, turquoise and black, some rim faults, 29.7cm. £500-800

336

336 Two large Cantagalli Iznik-style chargers, late 19th/early 20th century, one boldly decorated with a saz leaf and stylized tulips within a rock and wave border, the other with bright sprays of carnation and other flowers within a formal floral border, blue cockerel marks, a crack to one well, 37.3cm. (2) £1,500-2,000

337 Two Multan (Sindh, Pakistan) pottery chargers, 19th century, decorated in shades of blue with differing large flower sprays reserved on a turquoise ground, within lappet borders, 31cm. (2) £300-500 337 82

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338 Two large Moroccan pottery vases, late 19th/20th century, decorated with geometric patterns in shades of blue, yellow, turquoise and manganese, one signed underneath, 39.5cm max. (2) £300-400

339 A large Talavera de Puebla (Mexico) vase, c.1720, painted in blue with stylized eagle motifs on a dense foliate ground between horizontal bands, cracked, 41.2cm. £300-500

340 A Qajar vase or hookah base, 19th century, the squat form painted with birds, trees and flowers, the flat shoulder with a continuous band of flowering branches, and a celadon glazed ewer or teapot with incised decoration and an overhead handle, pierced to the base with five small holes, 15.3cm max. (2) £150-200

341 A Cantagalli lustre plate, 20th century, decorated in the HispanoMoresque manner in ruby lustre with a bird amidst a dense foliate design, painted cockerel mark, 25.5cm. £100-200

342 A small Hispano-Moresque lustre dish, 17th/18th century, painted in ruby lustre with a large stylized cockerel within narrow concentric bands, a small drill hole to the rim, 18.3cm. £200-300

343 Six small German stoneware Bartmann jugs or Bellarmines, 2nd half 16th century, four applied with bearded faces, one probably Siegsburg and incised around the rim with stylized figures, the last decorated in a mottled tigerware manner, all with narrow tapering necks, restorations, 19cm max.

(6) £500-700 83

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344 A German stoneware armorial Bartmann jug or Bellarmine, 17th century, the large ovoid body decorated with an oval panel containing a quartered coat of arms, the neck with a grimacing bearded face mask, a repair to the neck, 33cm. £400-600

345 A medieval encaustic floor tile, c.14th century, decorated with a knight on horseback in relief on a cream slip ground, and a post-medieval Tudor Green or Border Ware jug, the neck and handle decorated in a mottled green glaze, 16cm max. (2) £400-600

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346 Eight medieval encaustic tiles, c.14th/15th century, each moulded with a shield decorated with a diamond design beneath two thistle or tassel motifs, some faults, 12.5cm. (8) £250-350

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347 A small Westerwald Royal stoneware jug, 18th century, decorated with a central roundel enclosing the initials ‘GR’ within an incised and blue glazed petal border, the sides with large foliate scrolls, 14cm. £100-200

348 A Staffordshire salt-glazed mug, c.176070, the slightly waisted form enamelled with flowering peony and other branches around blue holey rockwork with vases and censers above, the rim with a formal border of stylized flowerheads and ruyi scroll panels, raised on a low circular foot, restoration, 15.5cm. £150-250

349 A Staffordshire salt-glazed bottle vase, c.1740, the globular body sprigged with birds perched on formal foliate and floral branches, the base of the tall flared neck with a scroll design, 21.7cm. £250-350 Paper label for Garry Atkins.

350 A Staffordshire salt-glazed stoneware teapot, c.1755, the squat globular body raised on three paw feet and brightly enamelled with flowering branches, and a 19th century slipware jug decorated in cream slip with a floral band, the teapot’s cover lacking, some damages, 13.5cm max. (2) £100-150

351 A small brown stoneware mug or coffee can, early 19th century, the well potted form impressed ‘ELEN * CARE’ beneath the rim, with a grooved strap handle, 7cm. £100-150

350

351

352 A Minton Majolica sweetmeat figure, date code for 1866, modelled as a young boy leaning on a high-backed basket on an oval base applied with fruiting grapevine, impressed marks and date code, a small amount of good restoration, 24.3cm. £100-200

353 A stoneware figure of a snuff-taking Scotsman, dated 1841, seated and taking a pinch from a horn-shaped snuff mull, wearing traditional costume including a kilt, sporran and feathered hat, seemingly without undergarments, incised ‘1841’ to the back of the base, 21.5cm. £150-200 352

353

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354 Two French faïence dishes or stands, 19th century, one painted with a flower spray within an elaborate reticulated rim, the other with a central pink rose amidst scattered single sprigs, 29.8cm max. (2) £200-300

355 Two French or Italian faïence pot pourri vases, 18th/19th century, possibly Bassano, one pierced with fleur de lys motifs and applied with large roses, with an elaborate floral cover, the other applied with flowering rose stems and raised on a rocky base, ‘A M P’ mark in manganese, damages to the former, 19.3cm max. (3) £100-200

356 A Marseilles faïence spice pot and cover, late 18th/19th century, painted in polychrome enamels with figures in boats and harbour settings, the interior with a dividing wall, black CA monogram mark, 12.2cm across.

(2) £100-150

357 A pair of Veuve Perrin faïence custard cups and covers, late 18th/early 19th century, painted with figures seated and travelling in rural landscapes, the reverses with flower sprays, the rims and feet highlighted in puce, blue VP monogram marks, one cover restored, 9.2cm. (4) £150-250

358 An Antonibon (Nove) maiolica coffee pot and cover, c.1775, the heavily moulded form painted with flower sprays in a limited polychrome palette, and a faïence plate painted with flowering branches in a similar palette, the plate with an incised collector’s mark ‘B3’, 22.5cm. (3) £300-500

359 Nine Italian maiolica plates, late 18th/early 19th century, each painted with a spray of flowers and smaller scattered single stems within shaped green and pink borders, 24.2cm max. (9) £80-100

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360 An early Donyatt slipware puzzle jug, dated 1754, with sgraffito decoration of stylized tulips and other large flowers, inscribed ‘Fill me full, drink of me while you would’ above ‘1754’ and the initials ‘SW’, in treacle slip on a deep yellow ground with green splashes, some glaze loss, 20.5cm. £800-1,200 Paper label for Wm. F Siebert, Rothermere, Midhurst.

361 A rare North Devon slipware puzzle jug, dated 1796, the squat globular body incised ‘ This jug I made to try your wit, If you the Licqor out can Geet 1796’ between stylized scrolls and zigzag designs, the neck pierced with vertical panels and small holes beneath a round rim with a single spout, decorated in a cream slip with small green splashes, 16cm. £600-800 Paper label for Jonathan Horne.

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362 A rare Donyatt slipware cream jug, dated 1805, the small globular body with sgraffito decoration of birds and stylized motifs, inscribed ‘1805’ to the side and beneath the base, the cylindrical neck with two zigzag bands, decorated in mottled yellow and green slip, applied with a scrolled handle, 9cm. £500-800 Paper label for Jonathan Horne.

363 A Donyatt slipware puzzle jug, dated 1790, with sgraffito decoration of stylized tulips and other flowers on a yellow ground splashed with green, inscribed with a two line stanza and ‘1790’ in two places, the neck pierced with eight small holes, the rounded rim with a single narrow spout, a repair to the spout, 21.2cm. £400-600 Paper label for Jonathan Horne.

364 A large Barnstaple (North Devon) slipware cider jug, 19th century, incised and decorated in cream slip with bold flowering sprays on a treacle ground, some glaze loss, 1.5cm surface chip, 32.5cm. £400­600 Provenance: Chichester family, Sotheby’s, Hall, Barnstaple, Selected Contents, 11th November 1996, lot 332 (part).

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365 A Whieldon type figure of a cockerel, late 18th century, splashed in green and manganese, an agateware moneybox in the form of a boot, and an elongated octagonal creamware dish sponged in manganese, 32cm max.

(3) £200-300

366 A miniature creamware teapot and cover of Whieldon type, c.1760, the small globular body decorated in a mottled manganese glaze, and a miniature teabowl with similar decoration, some damages to both, 9.3cm max. (3) £100-150 The teapot with a paper label for Frances L. Dickson.

367 Four pearlware pineapple-moulded jugs, 1st half 19th century, painted in red and silver lustre with stylized flower sprays and formal borders, one impressed ‘Harley’, some damages, 13.5cm max. (4) £80-120

368 Two Whieldon type creamware plates, c.1760, one octagonal and decorated with green and yellow splashes on a dark manganese ground, the other with a shaped rim and decorated with green on a sponged manganese ground, one restored, 23.7cm. (2) £80-120

369 A small group of creamware, late 18th century and later, including a Leeds Pottery shell dish, a circular butter tub and cover with reticulation, an oval dish and a plate with pierced rims, a wine coaster and a circular strainer with leaf handle, minor faults, 29cm max. (7) £250-300

370 Three pearlware nursery plates and a creamware jug, c.1800, the two larger plates printed with religious texts within moulded red and green borders, the smaller titled ‘A Pigeon Pie’ with a small boy tucking into a huge pie, the jug printed in black with Masonic emblems and a six line stanza, 19.6cm max. (4) £100-200 89

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371 A rare pair of lustre ware quintal vases, early 19th century, Sewell & Donkin (Newcastle-upon-Tyne), formed of five narrow vases moulded and picked out in green and peach lustre, the main bodies splashed in pink, peach, black and green, impressed marks, a few small chips, 18.5cm high. (2) £800-1,200

372 A good Prattware plaque, c.1800, moulded in high relief with two recumbent lions, their coats decorated with dots in blue, manganese and ochre, their manes and tails detailed in brown, the integral frame painted blue, 28.7cm. £500-800

373 A large pearlware jug, c.1800, decorated en grisaille with three landscape panels reserved on a deep yellow ground, a similar dish painted with figures fishing in a landscape on a paler yellow ground, and a Mason’s Ironstone footed bowl decorated with Chinese figures and dragons to the interior, 26.7cm max. (3) £150-250

374 A documentary silver-shaped creamware dish, c.1790-1800, painted to the well with a large floral spray, the rim with four smaller sprigs, inscribed beneath the base for ‘Clark Stillyard’, 30.3cm. £80-120

375 An unusual creamware teapot and cover, c.1765-70, possibly William Greatbatch, painted to one side with a stag hunt scene, the reverse with a Chinese figure fishing behind an ornamental fence, the foot, shoulder and rims with gadrooned decoration highlighted in gilt, some damages and restoration, 18.5cm across. (2) £200­300

90

Provenance: The Jill McNeile Collection. Formerly the Tom Wolford Collection.

Sold at Bonhams, 18th December 2012, lot 85.

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376

377

376 A rare Yorkshire pearlware model of a ‘coble’ boat, c.1820-40, painted to the exterior with stripes of orange, green and black, the interior modelled with four seating struts, 41.2cm. £150-250 ‘Coble’ boats are traditional open fishing boats found on the north east coast of England. Models of this type were thought to have been made for boat owners to display in their windows, advertising their boats for hire. The colours on the model matched those of the boat itself.

377 A large Staffordshire pearlware meat dish or charger, 19th century, printed and coloured with a family seated at a table in a garden, an attendant struggling with a windswept umbrella, within a bold border reserving four large panels of flowering plants and four smaller of birds on a rich coral ground, 54cm. £150-200

378

378 Four pearlware lustre jugs, 19th century, each moulded to two sides with a British volunteer soldier leaning on his rifle, within moulded grapevine picked out in pink lustre and green enamel, two pearlware jugs printed with soldiers on parade titled ‘Charge Swords’ and ‘England’s Defenders’, the reverses with ‘Firing in Skirmishing Order’, three other jugs printed with soldiers using bayonets, some damages, 20.7cm max. (9) £100-200

379 A small commemorative creamware jug, c.1803, printed in red with an inscribed satire depicting John Bull addressing Bonaparte standing upon a map of Europe, titled ’The Governor of Europe stoped [sic] in his Career’, the reverse inscribed ‘Success to the Volunteers’, two pearlware jugs, a mug and a cup and saucer printed with scenes of ‘The British Volunteers’, and a similar small porcelain jug, some damages and restoration, 15.8cm max. (7) £250-350

379 91

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380 A rare commemorative copper lustre jug relating to the Peterloo Massacre, c.1819, printed in black on a blue ground with named oval portraits of Henry Hunt and Thomas Wooler beside Britannia grieving at a tablet inscribed to the memory of the 'Unfortunate Sufferers at Manchester', the reverse with a portrait and four lines of verse loyal to Henry Hunt, the rim with a wide band of copper lustre, restoration to the spout, 12.6cm. £250­350

381 A commemorative pearlware vase, c.1817, the flared form printed in black with an inscribed and dated portrait of Princess Charlotte, the reverse with a named military portrait of the Duke of Wellington, restoration to the rim, 13cm. £80-100

Cf. John & Jennifer May, Commemorative Pottery 1780-1900, pl.202 and David Drakard, Printed English Pottery, pl.742.

382 A creamware ‘Harvest’ jug, late 18th century, printed in black to one side with a scene of harvesters celebrating before the village inn and giant haystacks, the reverse with a scene of Faith, Hope and Charity, beneath the spout with the initials ‘J & C B’, some staining, some restoration to the foot, 20.5cm. £150-250

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383 A commemorative pearlware teacup and saucer, c.1817, printed with Britannia mourning at a mausoleum, inscribed ‘To the Memory of Princess Charlotte’, within pink or purple lustre bands, 14cm. (2) £60-80

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384 A large commemorative Liverpool creamware jug, c.1793, printed in black to one side with a figure holding aloft the head of an aristocrat beside a guillotine, titled ‘The Martyr of Equality’, the reverse with four figures outside a tavern, titled ‘The British Hero or Arts yield to Arms’, minor faults, 21.8cm. £400-600

385 A cylindrical commemorative pearlware mug, c.1793, printed in blue with a scene entitled ‘View of La Guillotine or the modern Beheading Machine at Paris, By which Louis XVI late King of France was Beheaded Jan. 21 1793’, two figures watching as the king lies prone beneath the blade, a chip to the footrim, 15.8cm. £600-1,000

386 A rare commemorative creamware mug, dated 1821, celebrating the coronation of King George IV, printed in black with a portrait of the King within the inscription ‘George the fourth, Born Aug 12 1762, Succeeded to the Throne Jan 29th 1819, Crowned July 19th 1821’, 7.7cm high. £600-800

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387 A creamware Wood type Toby jug, c.1790, seated and holding an empty jug titled ‘ALE’, wearing a green coat and breeches over a manganese waistcoat, his unusually large hat decorated in manganese, some restoration, 24.8cm. £300-500

388 A Wood type Toby jug, c.1790-1800, seated with an upright barrel between his feet, a foaming jug of ale resting on one knee, wearing a sponged manganese coat over black breeches and an ochre waistcoat, a repair to his hat, 24.5cm. £200-300

389 A Wood type Toby jug, c.1790, seated on a tall base with his clay pipe at his side and an empty jug on one knee, wearing a blue coat over a green waistcoat, some restoration to his hat and base, 26cm. £300-500

390 A creamware Wood type Toby jug, c.1785-90, seated with an empty jug on one knee, his clay pipe at his side, wearing a sponged manganese coat over an ochre waistcoat, some restoration, 25.3cm. £300-400

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391 A Ralph Wood Toby jug, c.1790, seated with an empty round-bellied jug on his knee, his long-stemmed pipe by his right foot, wearing a pale green jacket over yellow breeches and a brown waistcoat, some good restoration to his hat, 24.7cm. £1,000-1,500 95

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392 A Ralph Wood Toby jug, c.1790, of ‘Mould 51’ type, seated with a foaming jug of ale and holding a small glass in his right hand, his long clay pipe resting between his knees, some restoration to his hat, 25.3cm. £600-800

393 A good Wood type Toby jug, c.1790-1800, seated with an upright barrel between his feet, a foaming jug of ale resting on one knee, wearing a sponged blue coat over black breeches, his hat sponged in grey, 24.8cm. £300-400 Exhibited: English Ceramic Circle Commemorative Exhibition, 1948, catalogue No. 66.

394 Two pearlware Toby jugs, c.1800, each with a foaming jug of ale resting on one knee, the larger with a clay pipe resting along his arm, his face well painted with warts and pencilled eyebrows, the other decorated in Pratt type colours, some damages and restoration, 25.2cm max. (2) £300-500

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395 A creamware ‘Step’ Toby jug, c.1780-85, seated with a long clay pipe held between his teeth, a foaming jug of ale on one knee and a small dog recumbent between his feet, wearing a manganese washed coat over pale yellow breeches, restoration, 24cm. £500-800

396 A creamware ‘Step’ Toby jug, c.1780-85, his clay pipe resting along the inside of his right arm, a small jug resting on his left knee, wearing a green coat over a manganese-splashed waistcoat, his mouth slightly agape to reveal a missing front tooth, some chipping, 24.5cm. £800-1,200

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397

398

397 A good pearlware bust of Voltaire, c.1790-1800, after the 1718 painting by Nicolas de Largillière, his head turned slightly to dexter, raised on a waisted and marbled socle, impressed title to the reverse, 15cm. £200-300

398 A Staffordshire pearlware bust of John Milton, c.1810-20, the poet with a melancholy expression, wearing a fringed pink robe over a claret jacket with embroidered collar, raised on a black socle base, titled to the reverse, 29.5cm. £150­200 Provenance: purchased from Bratton Antiques, Westbury, 5th March 1986.

399 399 Two Staffordshire pearlware busts, c.1800-20, after Ralph Wood, one of George Frederick Handel, the other of Matthew Prior, each wearing a red and green robe over a burgundy jacket and white shirt, Prior in his characteristic turban, both raised on black socle bases, some retouching to the enamels, restoration to one shoulder, 23.7cm max. (2) £200­300 Provenance: the bust of Prior purchased from Bratton Antiques, Westbury, 7th March 1986.

400 A rare Staffordshire pearlware theatrical character jug, c.182530, possibly Rockingham, modelled as John Liston in his role as Paul Pry, wearing a yellow top hat impressed with his famous line ‘Hope I Don’t Intrude’, some good restoration to the hat, 13.8cm. £100­200

400 98

Provenance: from a private collection. Purchased from B & T Thorn, Budleigh Salterton, in 1981.

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401 A Staffordshire figure group of a performing animal troupe, 1st half 19th century, with an organ grinder standing beside a dancing bear, the trainer holding out his hat for donations, all before flowering bocage, some chipping, 15cm high. £200­300 Different arrangements of this group exist, sometimes with the inclusion of a monkey on the back of a dog. Cf. Myrna Schkolne, Volume 3 Staffordshire Figures 1810-40, pp.8-9 for illustrations of variations of this figure.

402 A large Staffordshire spill vase group, c.1820, modelled with two cattle and figures standing before flowering bocage and flanking a large hollow tree, a musician seated at the base of the tree playing a flageolet to two ducks, one cow being milked by a figure seated beside, 32cm across. £200-300 Paper label for Oliver Sutton Antiques.

403 Five pearlware cow creamers and covers, 19th century, one with a milkmaid and sponged in Portobello type colours, another also with a milkmaid and sponged in stripes of black and ochre, one with pink lustre splashes, another printed with a Willow type pattern, some faults, 18cm across max. (10) £300-500

404 A pair of Salt pearlware models of sheep, c.1810, recumbent below flowering bocage with heads turned and coats sponged in russet, and a pearlware moneybox modelled as two figures flanking a house, decorated in Portbello type colours, some losses and restoration, 13.3cm max. (3) £100-200

405 Two Staffordshire pottery figures of parrots, 19th century, perched on stumps with brightly coloured plumage, and a Staffordshire figure of a Roc bird, 32.8cm max. (3) £150-250

406 A pair of Pratt ware figures, c.1790-1800, one of Apollo, the other of a girl holding a basket of flowers, both raised on green mounds above square bases, and a pair of pearlware figures of putti holding baskets and standing before flowering bocage, 14.5cm max. (4) £100-200 99

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407 A Dixon Austin & Co Pratt ware watch stand, c.1820, modelled as a longcase clock flanked by two children in Classical dress, the case moulded and painted with further figures, decorated in a typical palette of blue, green, yellow and ochre, impressed mark to the top of the base, a small amount of restoration, 28cm. £300-500

408 A Staffordshire figure group of ‘The Dandies’ or ‘Dandy and Dandizette’, c.1800-10, fashionably dressed and strolling arm in arm, each carrying a small bag, raised on a square base with red trellis design, minor damages, 20.7cm. £800­1,000

409 A Staffordshire figure group of the Shoe Maker and his Mate, c.1820, a lady standing and leaning on a flowering tree to her right while the shoe maker holds her left foot, raised on a rocky base with titled applied pad to the front, some restorations, 24cm. £150-250

410 A rare Pratt ware watch stand, c.1800, modelled as a longcase clock flanked by a boy and girl, the case moulded and enamelled in typical palette with Classical scenes, minor faults, 26.8cm. Together with a later Metoda pocket watch. (2) £300­500

Cf. Myrna Schkolne, People, Pastimes and Pleasures, pp.54-61 for a discussion of these figure groups, and p.59 for a near identical example.

Cf. J & G Lewis, Pratt Ware, for a similar example illustrated on the dust jacket.

100

Provenance: purchased from Oliver Sutton Antiques.

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411 A Pratt ware figure group, c.1810, of a couple beside a tree, he playing the flageolet with his companion seated beside him, a lamb recumbent at their feet, raised on a tall square base, some restoration, 20.6cm. £150-250

412 A Wood pearlware figure of Jupiter, late 18th century, standing with one hand holding a staff which rests on his right shoulder, an eagle standing by his right foot, on a grassy mound above a square base, impressed ‘76’ to the underside, some restoration, 29.2cm. £80-120

413 A Pratt ware figure of Winter, c.1800, modelled as a boy pulling his cloak about his shoulders, raised on a square base, typically decorated in blue, yellow, green and ochre, 19.5cm. £150-250

414 A pair of Staffordshire pottery lion and lamb groups, 19th century, each big cat seated on its haunches with head turned, a small lamb tucked behind its forepaws, raised on oval bases with a single gilt line, 26.7cm. (2) £500-800 Paper labels for Oliver Sutton Antiques.

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415 A small creamware Whieldon-type figure of a lioness, c.1780, seated on her haunches with her head turned to the right and her tail tucked beneath her body, decorated with splashes of manganese, green and blue, minor faults, 6.2cm. £100-200

416 A small Pratt ware figure of a lion, c.1800, recumbent on a low rocky base with head turned, its coat decorated in patches of ochre and brown, 10.2cm across. £150-250

417 A Whieldon-type creamware figure of a dog, c.1780-90, recumbent on a low base with head turned, decorated with splashes of manganese and green, an incised X to the interior, a chip to the inside of the base, 10cm. £150-250

418 A good pearlware stirrup cup in the form of a fox, c.1800, naturalistically modelled with ears erect and teeth slightly bared, its features detailed in polychrome enamels, 15.6cm. £300-500

419 Two pearlware stirrup cups, 19th century, modelled as pointer dogs, one more naturalistically modelled and decorated with black patches, the other with sponged brown patches and a grey nose, 13.4cm max. (2) £200-300

420 A pearlware stirrup cup in the form of a fox, c.1800, naturalistically modelled as the head of a fox with ears laid back and mouth slightly open, a little glaze chipping, a faint rim crack, 14cm. £100-200

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421

422

421 A Copeland Parian figure of The Bride, c.1861, modelled by Raphaelle Monti for the Crystal Palace Art Union, a diaphanous veil clinging to the contours of her face and held in place by a floral diadem, raised on a circular socle, incised and impressed marks, a small chip to one flower, 36.5cm. £500­700 Cf. Richard Dennis, The Parian Phenomenon, fig. 586.

422 A large Parian bust of Benjamin Disraeli, 1st Earl of Beaconsfield, c.1875-80, facing forward and wearing a buttoned jacket over a high-collared shirt, unmarked, the socle base lacking, 44.5cm. £150-250

423 A large Wedgwood Jasperware rectangular plaque, probably 19th century, applied in white with the Dancing Hours on a black ground, the six maidens holding hands and dressed in flowing Classical robes, framed and glazed, the plaque 45.5cm across. £150-200

423

The frame with an old paper label for the Ravensbourne Galleries, Beckenham.

424 A pair of Wedgwood jasperware oval portrait plaques, 19th century, each applied in white on a pale blue ground with elaborately hatted head and shoulder profiles, each plaque 13.3cm high, mounted in later frames. (2) £100-200 The portrait of George is attributed to John Flaxman and was taken from the drawing by Edmund Scott, depicting him in the uniform of Colonel of the 10th Light Dragoons. That of Caroline (also attributed to Flaxman after Edmund Scott) was engraved by T. Barrow in 1795.

Depicted in extravagant headwear, it seems probable that this pair of plaques was made to celebrate their wedding on 8th April 1795. Cf. Reilly & Savage, Wedgwood: the Portrait Medallions, pp.83 and 168.

424 103

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DAY TWO Wednesday 27th April 2022 at 10am Porcelain and Enamels – Lots 425­879

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425 Three English enamel portrait plaques relating to the American Wars of Independence, c.1780, printed in manganese with likenesses of Admiral Rodney, General Clinton and Lord Cornwallis, each titled in a banner beneath the portrait, mounted in narrow metal frames with suspension rings, 8.2cm.

(3) £1,200­1,500 Henry Clinton was Commander-in-Chief of North America from 1778-1782; George Brydges Rodney was ordered to the West Indies in late 1779 by way of Gibraltar where, in January 1780, he defeated the Spanish at the battle of St Vincent. Charles Cornwallis inflicted an embarrassing defeat on the American army in 1780 at the Battle of Camden, although he surrendered his army at Yorktown the following year after a series of disagreements with Clinton.

Provenance: from the collection of the late Timothy Clowes.

426 A Birmingham enamel plaque, 1st half 19th century, printed and hand-coloured with the profile portrait of a man with a long white beard, in a medallion inscribed ‘Grand Lodge of Modern Druids * Established at Walsall 1812’, within an oak leaf wreath, restored, 8.2cm. £400­600

427 An English enamel plaque of Masonic interest, c.1800, painted with a goddess, probably Demeter, holding three ears of corn in one hand and a sacred heart in the other, above clasped hands, in a narrow gilt metal mount with a suspension ring, the plaque 7.7cm. £300­500

Provenance: from the collection of the late Timothy Clowes. Paper label for Halcyon Days, London.

Provenance: from the collection of the late Timothy Clowes.

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428 An English enamel patch box, late 18th century, the oval form inscribed to the top with ‘A Trifle from Salisbury’ within a pink and blue border, the sides in a pale pink, some restoration, 4cm. £100-200

429 A Birmingham enamel circular snuff box, c.1760-80, the top finely painted with two flying insects on a large pink rose with a small spray of forget-me-nots, the sides and base with small vignettes of figures in European landscapes, some good restoration, 7.2cm. £150-250

430 A small South Staffordshire rectangular enamel snuff box, c.1770, the lid painted with a Chinese figure seated on a riverbank with a basket of fruit, within a gilt scroll border, reserved on a green ground with raised white enamel trellis, some cracking and restoration, 6cm. £500-800

431 An English enamel commemorative patch box, late 18th/early 19th century, the oval form painted to the cover with a laurel wreath enclosing the inscription ‘British Gratitude to Nelson’s Valour’, reserved on a blue ground within a white bead border, restored, 4.2cm. £150-200

432 A rectangular enamel snuff box, c.1755-60, possibly Battersea, painted with a butterfly above flowers including pink rose, the corners with single sprays including a tulip, the interior cover with a single butterfly, with gilt metal mounts, 7cm. £300-400

433 A large Bilston enamel snuff box, c.1765, possibly emblematic of travel, the cover depicting a figure seated at a table before a stone column titled ‘Janus’, a winged figure holding the staff of Asclepius, a ship visible in the background and a globe to the bottom right corner, the sides with floral panels reserved on a dark blue ground with raised white enamelling, some good restoration, 8.3cm. £250-350

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434 A rare South Staffordshire enamel bonbonnière, c.1770, modelled as a peach with purple striations and pale green sponged decoration, the interior cover painted in puce enamel with a portrait of a lady, possibly an actress, with a feathered head ornament, 5cm. £400-600

435 A South Staffordshire enamel fruit bonbonnière, c.1770-90, modelled as an apple with russet striations on a yellowy-green ground, painted with a small stalk to the underside, the interior lid fitted with a claret velvet pad, 4.3cm. £200-300

436 A South Staffordshire enamel figural bonbonnière, c.1770, modelled as a sheep or lamb curled up on a grassy base, the cover painted with a spray of flowers on a white ground, a little cracking and restoration, 5.7cm. £700-1,000

437 A Birmingham or South Staffordshire enamel snuff box, c.1760-70, modelled as a lady’s heeled shoe and painted with sprays of English flowers, a small buckle painted above the toe, some small restorations, 8.3cm. £400-600

438 A small enamel fruit bonbonnière, c.1770-90, modelled as an apple decorated with russet patches on a yellow ground, the underside painted with a brown stalk, 3.3cm. £200-300

439 A French enamel silver-mounted snuff box, c.1765-75, decorated with a raised gilt design of hearts enclosing single flower or fruit sprays, reserved on a pale yellow ground with pink striations, the silver with Paris marks including a possibly ‘TB’ maker’s mark, some cracking, a repair to the interior, 6.5cm. £150-250 107

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440 A collection of forty-two Halcyon Days enamel Easter eggs, modern, comprising a near complete run from 1974 to 2016 (omitting 2012), variously decorated with flowers, birds, animals and figures, each with a small metal stand, 5.5cm each egg. (42) £200-300

441 A South Staffordshire enamel scent bottle case, c.1770-80, the flattened rectangular form painted with small floral panels reserved on a green ground with flowerhead motifs, the interior fitted with a small glass scent bottle and stopper, 5.5cm. £200-300

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442 An English enamel scent bottle, c.176080, the flattened rectangular form painted to two sides with courting couples within gilt scroll borders, reserved on a panelled ground of raised decoration over pink, white, yellow and blue, with a gilt metal scroll stopper, some good restoration, 9.2cm. £400-500

443 An English porcelain scent bottle, 19th century, after Chelsea or Charles Gouyn, modelled as a chicken with three chicks raised on a low grassy mound, the largest chicken’s head forming the stopper, some restoration, 7.5cm. £100-150

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444 A large pair of Staffordshire enamel candlesticks and detachable sconces, c.1770, decorated with panels of figures in harbour settings and beside Classical ruins within blue scroll borders reserved on a deep pink ground, 30.5cm. (4) £800-1,200

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445 A large English enamel bonbonnière, c.1770-80, modelled as the head of a pug dog with a protruding pink tongue, the hinged cover painted with a further dog barking outside a house, good restoration, 6.8cm. £700-900

446 A rare English enamel double use cane or parasol handle, c.176080, the tapering form finely painted in purple monochrome with figures beside Classical ruins in landscape panels, reserved within gilt C scroll borders, the top with a hinged cover concealing a small compartment, a little restoration to the end, 5.6cm. £400-600

447 A Staffordshire enamel patch box in the form of a pocket watch (faux montre), c.1770-80, the painted clock face with two movable metal hands, the reverse painted with figures beside a tower in a harbour setting within a polychrome scroll border, fitted with a metal suspension hook, 5.8cm overall. £400-600

448 A small enamel pug bonbonnière, c.1770-80, modelled as the head of a pug dog with protruding pink tongue, the cover painted with a spray of flowers on a white ground, some good restoration, 4.8cm. £300-500

448A Seven English enamel snuff and patch boxes and two etuis, c.176080, one etui painted with a courting couple, the other with panels of flowers reserved on a blue ground, a snuff box moulded with a recumbent spaniel, another decorated with flowers on a gingham linen ground, two patch boxes printed with mottoes on a pink ground, the last three variously decorated with flowers, a small blue hardstone box with a narrow gem-set border, and a French faïence circular box, damages, 9.8cm max. (11) £200-300

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449 A rare pair of Staffordshire or Derby figures of leopards, c.1840, probably modelled by George Cocker, the leopardess leaning over two cubs and cleaning one with her tongue, her companion recumbent with mouth slightly open, each raised on a rocky base decorated a rich blue, one cub lacking from the mother’s model, 14cm across. (2) £1,200­1,500 Cf. D G Rice, English Porcelain Animals of the 19th Century, p.180 where the author discusses the model attributed to Derby. A pair in biscuit porcelain were recorded at Mercury Antiques in 1986. A leopardess at Sotheby’s on 17th March 1970 was also lacking a cub. Andrew Dando recently sold a model of the leopardess with a different coloured base. The model of the leopard is extremely rare.

450 A good English porcelain figure of a lion, c.1820-30, standing four square on a grassy base, his thick mane detailed in crumbed clay, impressed 347 to the base, 9.8cm high. £400-600

451 Two Minton Hollins & Co square tiles of dog breeding interest, dated 1870 and 1876, each painted with a pointer dog and details of their sires and dams, titled ‘Bounty’ and ‘Somerset’, 20.3cm max. (2) £200-300 The date of the tiles coincides with a huge growth in the recognition of sporting and gun dogs and in 1870 the first Grand Exhibition of Sporting and Other Dogs was held in the Crystal Palace.

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452 Four English porcelain figures of greyhounds, 1st half 19th century, including Minton, two with blackberry markings and raised on green rocky bases, one on a shaped base painted with flowers, the last on a green tasselled cushion with front paws crossed, and a model of a spaniel recumbent on a puce cushion, some faults, 13.3cm across max. (5) £120-180

453 Three Staffordshire porcelain figures of dogs, 19th century, of spaniels, two in baskets with puppies, the other sitting on a footed base, and a model of a poodle in playful pose on a green tasselled cushion, some small restorations, 11.8cm max. (4) £150-250

454 Three English porcelain figures of dogs, 1st half 19th century, including a Samuel Alcock model of a reclining mastiff on a rocky base, an Alcock model of a saluki or Persian greyhound seated on its haunches, a model of a spaniel recumbent on a cushion, and a pair of later Continental copies of recumbent spaniels, 14.5cm max. (5) £100-200

455 Eight English porcelain figures of poodles, 19th century, four of the dogs recumbent with a dead game bird beneath its front paws, two standing on tall footed bases with game birds in their mouths, the last two recumbent with heads turned to the right, some faults, 9.5cm across max. (8) £150-250

456 Five English porcelain figures of sheep, c.1770-1830, two Derby and modelled standing or recumbent beneath flowering bocage, three Staffordshire and modelled with textured fleece on rocky bases edged in gilt, some faults, 9.5cm max. (5) £120-180

457 Four Derby figures of animals and birds, 19th century, including two Derby models of recumbent lambs, a stag before flowering bocage, and a model of a goldfinch perched on a low branch, and a porcelain model of a cat, probably Rockingham, seated on its haunches with head turned, 9cm max. (5) £100-200

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458 A rare pair of Samuel Alcock porcelain hedgehogs, c.1835, each raised on a characteristic rocky base decorated in a pale yellow and edged in gilt, the hogs with rough clay spines, 7.5cm across. (2) £1,800­2,000 Cf. D G Rice, English Porcelain Animals of the 19th Century, p.173, where he describes hedgehogs in porcelain as very rare.

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459 Five Royal Worcester figures, date codes for 1893, 1901 and 1918, modelled by James Hadley, including a pair of Cairo Water Carriers, a pair of Bringaree Indians and a larger figure of a dancing Classical maiden, decorated in shot enamels, the water carriers with raised gilt designs on blush ivory, some damages and restoration, 22.3cm max. (5) £200-300

460 Three Royal Worcester figures, date codes for 1917, one of Sir Walter Raleigh after Zaccaro, another of Charles II after Beal, each raised on bases with raised gilded borders, another of Charles I after van Dyck, a Royal Worcester figure of Mary Queen of Scots (dated 1914), and a figure after James Hadley of ‘Ye Water Carrier’ from the London Cries series (dated 1931), 24.2cm max. (5) £150-250

461 A Royal Worcester cased coffee set, date codes for 1924, painted

by Harry Stinton with Highland cattle in moorland landscapes, the cups gilded to the interiors. Comprising six coffee cups, six saucers and six silvergilt spoons, all in a fitted blue case for Mappin & Webb Ltd. £600-800

462 Two Millwyn Holloway rectangular porcelain plaques, modern, one painted in the manner of Harry Stinton with Highland cattle by a moorland stream, the other with deer and sheep by a mountain lake, signed, printed MH marks to the reverse, within gilt wood frames, one with a small metal applied plaque, each 44cm overall. (2) £200-300

463 Two Millwyn Holloway rectangular porcelain plaques, modern, one painted with a vase of flowers including rose, lilac and tulip, the other in the manner of James Stinton with three pheasants in a woodland setting, signed, printed MH marks to the reverse, the gilt wood frames with a small metal plaque, each 41cm overall. (2) £150-250

464 A large Royal Worcester vase, dated 1863, of ovoid form, painted probably by Joseph Williams with a detailed Italian landscape titled ‘Pallanza, Laco Maggiore’, depicting the lakeside town before mountains, within a gilded laurel wreath border on a rich blue ground, the handles formed as confronting snakes issuing from bearded faun masks, printed marks, the cover lacking, 30cm. £200­300

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Provenance: the Robert and Celia Morris Collection.

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465 A Royal Worcester fruit-decorated part tea service, 20th century, painted with various scenes of apples, cherries, grapes, plums, peaches and other fruits on the woodland floor, variously signed by F. Higgins, J.Cook, C. Bowen and R. Tomson, black printed marks. Comprising: a teapot and cover, six tea cups, six saucers and six cake plates. (20) £500-800

466 A Royal Worcester fruit-decorated pot pourri vase with inner and outer covers, modern, painted by Derek Shinnie with an arrangement of peaches, grapes, apples and blackberries on the woodland floor, signed, above a moulded band of basketweave, the outer cover pierced and similarly moulded, black factory marks, 19.5cm. (3) £150-250

467 A Royal Worcester vase, date code for 1901, of shape 1575, painted

by Charles Baldwyn with four swans in flight amongst reeds and gilded seedheads on a sky blue ground, the reverse with swallows in flight, signed, the flattened shoulder moulded with a stiff leaf border, the neck with foliate scrolls, the handles issuing from mythical masks, printed mark, the cover lacking, 22.2cm. £300-400

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469

470 468 A large Royal Worcester vase and cover, date code for 1892, of shape 1481, decorated by Edward Raby with a loose floral design in polychrome enamels and raised gilt on an ivory ground, signed ‘ER’, printed marks, the finial restuck, 47cm. (2) £150-250 469 A pair of Royal Worcester vases by James Stinton, date codes for 1908, of shape 1047, each painted with a cock pheasant between moulded foliate blush ivory bands, signed, printed marks, 22cm. (2) £100-200

471

470 A Royal Worcester two-handled vase, date code for 1899, painted by Raymond Rushton with a fisherman beneath silver birch trees beside a mountain lake, a viaduct and castle in the distance, signed R. Rushton, the reverse with a similar landscape, puce printed mark, 27.5cm. £150-250 471 A group of Royal Worcester fruit-decorated pieces, modern, including a pair of small plates painted by Terry Nutt with peaches and blackberries, a cabinet plate with a small panel by James Skerrett within an elaborate chased gilt border, and a Paragon cylindrical vase by A. Holland with plums, grapes and apples in the Royal Worcester manner, all pieces signed, 23.4cm max.

(4) £150-250 472 A pair of Royal Worcester vases and a pair of tall jugs, date codes for 1906 and 1901 respectively, the vases of shape 1538, the jugs of shape 1047, painted and gilded with flower and leaf designs on a blue ivory ground, printed marks, 26.5cm max., (4) £150-250

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474 473 473 A pair of Royal Worcester vases and covers, date codes for 1898, of shape 1970, painted with thistle sprays, feathery grasses and other flowers on a blush ivory ground, the handles issuing from mask heads, printed marks, 34cm. (4) £150-250 474 A Royal Worcester cabinet plate, date code for 1905, painted by John Stinton with cattle beneath trees and beside water, signed, reserved within a blue rim with gilt leaf swags, printed marks, 22.5cm. £100-150 475 A pair of small Royal Worcester vases and a rosewater sprinkler, date codes for 1888 and 1884 respectively, of Islamic shape, decorated in raised gilt with autumnal sprays of foliage and seedheads, the ewer with a spout modelled as a duck holding a pierced rosette in its mouth, printed marks, 18cm max.

(3) £100-200 476 A Royal Worcester double-walled footed bowl, c.1865, after Chamberlain, the honeycomb design with small heartshaped motifs, flanked by jewelled borders, raised on a flared foot, printed and applied marks, 11cm. £100-200

475

477 Four small Royal Worcester vases, date codes for 1928, 1930 and 1931, including a small pair of globular vases (G161), a sack vase (G957) and a sleeve vase (G323), all painted by Kitty Blake with arrangements of fruit, signed, printed marks, 15.3cm max. (4) £150-250

476

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478 A pair of Crown Derby porcelain letter racks, late 19th century, each painted with a songbird perched on flowering or fruiting branches, the reverses with a large butterfly, flanked by two moulded pillars forming pen holders, the tops elaborately reticulated and edged in gilt, black printed marks, 20.5cm across. (2) £300-400

479 A Flight, Barr and Barr basket, c.1825, painted with a girl carrying a basket along a clifftop path with seagulls and boats behind her, reserved on an apple green ground beneath an overhead handle, titled beneath ‘The Fisherman’s Daughter’, raised on four paw feet, script factory mark, 24.8cm. £300-500

480 An English porcelain bough pot and cover, c.1830, painted with a British infantry soldier bidding farewell to his distraught companion, raised on gilt scroll feet, the shaped top pierced with an arrangement of small holes, 22cm across. (2) £100-200

481 A Grainger’s Worcester small basket or card tray, c.1830, painted with a view of Lynton and Lynmouth in Devon, the rim moulded with grapevine, and a larger tray painted with a view of Malvern reserved on a claret ground, marked beneath ‘G Roger, 93 High St, Worcester’, a chip to the smaller basket’s handle, 16.8cm max. (2) £150-250

482 A pair of English porcelain porter mugs, c.1820-30, probably Coalport, one painted with a man firing a gun at a game bird in flight being chased by his dog, the other with the same dog in pursuit of a snipe, the interior rims with an elaborate foliate gilt rim, 8.8cm. (2) £250-350

483 Three Barr, Flight and Barr coffee cans and a saucer, c.1804-13, the matching can and saucer printed with sea shells, another can printed with birds in flight, the last with scenes of Classical figures, impressed crowned BFB marks, and a Flight Worcester teabowl and saucer painted with flower sprays in puce and gilt, 13.7cm max. (6) £80­120 Provenance: the teabowl and saucer from the Raymond Dennis collection; the rest from the Raymond Hill collection.

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484

484 Two pairs of Chamberlain’s Worcester plates, early 19th century, one pair soup plates decorated with the Dragons in Compartments pattern, the other with armorial crests of a seated dog beneath the motto ‘Faithful not Fawning’, the borders with the Dejeuney pattern in Rich Kakiemon colours, puce script marks, 24.3cm max. (4) £100­200

485

Cf. Geoffrey A. Godden, Chamberlain-Worcester Porcelain 17881852, p. 117, 320, plates 125, 134, 135, and colour plate XI for an identical armorial service made 1815-1819 for Sir James Yeo with his own crest.

485 Nine Wedgwood porcelain plates, early 20th century, decorated with various scenes from Surtees’ Jorrocks’ Jaunts and Jollities, illustrated by John Leach, titled beneath each scene, within gilt dentil rims, printed marks and retailer’s marks for Phillips Ltd, New Bond Street, 23.5cm. (9) £100-200 Robert Smith Surtees compiled Jorrocks’ Jaunts and Jollities in 1838 from comic illustrations which appeared in his New Sporting Magazine from 1831. The antics of the artful Cockney grocer caught the public’s imagination and further books followed.

486

486 A pair of Flight, Barr and Barr botanical dessert dishes, c.1820, finely painted with flowering specimens of the Crown Imperial fritillary and the Daffodil of Africa, within shaped gilt borders on an apple green ground, titled to the underside, faint impressed factory marks, 22.5cm. (2) £350-450

487 Three English porcelain dishes, c.1810-30, one Barr, Flight & Barr with an armorial crest within a gilt seaweed ground, the other Flight, Barr & Barr and painted with a unicorn crest reserved within a salmon border with gilt palmettes, the last a square dish painted with shells and colourful seaweed, puce monogram mark to the underside, 26.6cm max. (3) £120-180

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488 A pair of Barr, Flight and Barr chocolate cups with covers and stands, c.1810, each painted with a panel of colourful feathers, reserved on a yellow ground with dark green and black foliate scrolls flanking owls on ribbon swags, incised B marks and script marks to the covers and stands, one cup broken and cleanly repaired, 16.5cm high. (6) £1,500-1,800

489 A Barr Worcester inkstand, c.1800-05, of serpentine form with a mythical serpent handle, the shaped sides painted with feathers between gilt Greek key borders, set with three inserts, incised B marks, the covers lacking, 17.8cm across. (4) £900-1,200

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490 A rare Barr, Flight and Barr two-handled vase and cover, c.1810, well painted with a panel of seashells, coral and seaweed on an ornate table, reserved on a pale salmon ground gilded with bull and cat heads among scrolling flowers, the handles formed as mythical bird heads, some restoration to the rim and one handle, the cover possibly later, 20.5cm. (2) £1,200-1,500 121

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491 A rare pair of Flight, Barr and Barr ewers and covers, c.1825, the shallow circular forms with short spouts and angular handles in gilt on an apple green ground, the covers finely painted with a continuous band of flowers including tulip, rose and convolvulus, each finial formed as a seated sphinx, script marks, one cover restored, 13.7cm across. (4) £500-700

492 A Barr Worcester two-handled chocolate cup, c.1805, finely painted with a panel of feathers within a gilt border, reserved on a grey faux marble ground, the flared form applied with two angular handles and raised on a flared foot, the cover lacking, 9cm high. £600-800

492

493 A pair of small English porcelain ewers, c.1820, the ovoid bodies painted with bouquets of flowers including rose, primrose and convolvulus, on a white ground with gilt foliate sprays and trellis panels, with narrow necks and tall handles issuing from lion masks, 15.5cm. (2) £150-250

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495

494 A Derby câchepot and stand, c.1800-10, painted with a figure on horseback riding along a winding track with an extensive landscape beyond, titled in blue ‘View in Strathmore, Scotland’, reserved on a white ground with gilt trellis and foliate decoration, 13.6cm. (2) £150-250

495 A Coalport campana vase, c.1820-40, painted to two sides with a bold arrangement of flowers including rose, nasturtium and convolvulus, the gilded handles issuing from lion masks, a little flaking, the foot reattached, 23.5cm. £200-300

496 A graduated set of three Spode vases, c.1820, of New Shape Jar form, decorated in the Imari manner in pattern 967 with stylized floral panels, flowering sprays and zigzag fences, iron red factory marks and pattern numbers, 27cm max. (3) £400-600

496

497 A garniture of three English porcelain vases with armorial decoration, c.1830-40, each painted with the arms of the Vernon family and inscribed ‘Georgius Joannes Warren Dominus Vernon de Kinderton’, the reverses with a panel of English flowers, all reserved on a blue ground with gilt caillouté decoration, some restoration, 25.8cm max. (3) £250-350 George John Warren Venables-Vernon, 5th Baron Vernon (1803-66) was an MP in the county of Derbyshire and the first for Southern Derbyshire. He lived at Sudbury Hall.

reverse

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498 A pair of Minton glass coolers, 19th century, after Sèvres’ seau à verre échancré shape, painted with turquoise ribbons entwined with flower swags, one with a green ermine mark, 10cm high. (2) £150-250

499 A pair of small Flight, Barr and Barr câchepots, c.1820, the bucket forms painted with small figures before buildings in rural landscapes, the reverse with gilt foliate scrolls on a white ground, each applied with female mask handles and raised on three paw feet, 8.5cm. (2) £250-350

500 A pair of English porcelain plates, early 19th century, the wells painted with scenes from Shakespeare, one with Juliet on her balcony, the other with Ferdinand and Miranda seated on a pile of logs, within a wide gilt band to the cavettos, the rims with a continuous floral design, titled in red to the underside, 20.7cm. (2) £100-200

501 A pair of Flight, Barr and Barr small vases, c.1815, each painted by Thomas Baxter with a seated Classical lady in polychrome enamels on a matt blue ground, the necks with a row of white beading and applied with bird mask and ring handles, one with a script mark in brown enamel, 8.8cm.

(2) £900-1,100

502 A matched pair of Derby campana vases, c.1820, painted with octagonal panels of fruit or flowers in baskets on stone plinths, reserved within gilt foliate panels on a blue ground, gilt serpent handles, iron red crowned crossed batons and D marks, some gilt wear, 20.5cm. (2) £200-300

503 A pair of small Spode vases, c.1820, painted in pattern 2812 with pink rose heads on gilt tendrils within bands of raised white beading, iron red factory and pattern marks, the covers lacking, 11.2cm. (2) £150-250

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504 A large pair of Derby campana vases, c.1820, painted with figures in landscapes, one with a fisherman before two figures conversing on an arched bridge, the other with figures launching a boat beneath Classical ruins, within oval gilt borders, reserved on a salmon ground decorated with puce, sepia and gilt scrolls, 32.5cm. (2) £400-600

505 A pair of Coalport vases and covers, mid 19th century, painted with small panels of colourful birds on branches within sprays of rose and thistle tied with blue ribbon, reserved on a rich pink ground, gilt CBD monograms for Coalbrookdale, some restoration, 28.3cm. (4) £120-180

506 A pair of Crown Derby two-handled vases and covers, c.1875-80, painted by James Rouse Senior, one side with arrangements of fruit including peaches, pears, cherries and grapes, the reverses with panels of flowers including rose, crocus, narcissus and primula, all on stone ledges, within gilt starburst borders, reserved on a ground of dense vertical stripes between blue bands, raised on square bases, gilt crowned factory marks, signed underneath ‘Painted by J. Rouse Sen’r, Derby’, some restoration, 24.5cm. (4) £800-1,200

507 A pair of Minton vases and covers, date codes for 1869, the Classical urn shapes painted with flowering sprays of rose, vetch and sweet pea, reserved on a rich turquoise ground, the shoulders moulded with tied leaf swags, the handles with pierced flowerhead rosettes, impressed marks and date codes, 33.5cm. (4) £900-1,200

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508 A fine pair of Minton pâte-sur-pâte vases and stands by Marc Louis Solon, date codes for 1889, of vase hollandais nouveau shape, enamelled in white on a green ground with scenes of putti courting, the narrow panels with flowers inscribed ‘Passionnement’, ‘Pas de tout’, ‘Beaucoup’ and ‘Un Peu’, raised on reticulated bases with panels of flowers and musical instruments, all reserved on an ivory ground within elaborate gilt borders by Alfred Evans and J. Marrow, signed ‘M L Solon’ on one panel and ‘L Solon’ on another, each signed underneath ‘J Marrow & A Evans’, the bases with gilt factory marks and marked ‘Manufactured for Phillips’, green ‘SMS’ monogram, 24.5cm. (4) £6,000­10,000 Provenance: from the collection of David Lavender.

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509 An impressive Copeland ewer, c.1850, of oenochoe form, finely painted to two sides with Italianate landscape scenes with distant mountains, attributed to Daniel Lucas junior, reserved in ornate raised gilt foliate borders on a lilac ground, the shoulder painted with a continuous band of flowers, the neck with jewelled and gilt designs, the handle issuing from female masks, green printed mark, a body crack to one side, 38.8cm. £2,000­2,500 Cf. Victoria and Albert Museum, Accession No. 2775-1901.

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510 An English porcelain rectangular plaque, 1st half 19th century, painted with a songbird and a butterfly alighted on an arrangement of flowers including rose, forget-me-not, buttercup, bramble and convolvulus, 20cm. £200-300

511 A Wedgwood teapot and cover, 19th century, printed and coloured in pattern 570 with scenes of Chinese figures at various pursuits in garden settings, reserved on a blue diaper ground, printed factory marks and painted pattern number, good restoration to the cover and handle, 24.5cm.

(2) £80-120

512 A large Coalport or Coalbrookdale inkstand or desk set, c.1835, the elaborate two-handled tray painted with bouquets and applied with further flowers, the vase, candlestick and inkwell moulded with blue-edged petals and painted with single sprigs, minor losses, 36.5cm across. (5) £150-250

513 An English porcelain anti-slavery mug, c.1830-40, inscribed in gilt with ‘Health to the Sick, Honor to the brave, Success to true love, And Freedom to the Slave’, flanked by simple flower sprays on a white ground, 9cm high. £100-200

514 A pair of Coalbrookdale type vases, 19th century, each applied with a variety of large flowers between pale yellow foliate scroll handles, with shaped rims and feet, one inscribed with a gilt pattern number 126, 27cm.

(2) £150-250

515 A pair of Minton three-light wall sconces (bras de cheminée) after Sèvres, 19th century, of rococo scrolled form with green and gilt detailing, with three branches issuing from a tall central scroll, some repairs, 45cm. (2) £100-200

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Twenty pairs of sconces were made at Sèvres between 1760 and 1768, including ten pairs with a green ground which were ordered by Louis XV. The design was by Jean-Claude Duplessis.

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516

516 Five Derby botanical plates, c.1797-1806, finely painted in pattern 216 possibly by William Pegg with specimens including Carnation Rose, Perennial Sunflower, Great Bell-flower, Ladies Slipper and Polyanthus, a large Derby teapot and cover painted with landscape panels on a deep yellow ground, two Derby bowls with similar decoration, and a group of English and Continental teawares painted with various designs including a Derby can with goldfinches on fruit, damages, 23.5cm max. (18) £300-500 517 A pair of Coalport sauce tureens with covers and stands, c.1820-30, of Union shape, painted with panels of garden flowers including rose, tulip, dahlia and heartsease, between dark blue bands with gilded grapevine, the handles moulded with rose, thistle and shamrock motifs, 23.4cm. (6) £100-200 518 A Derby bourdaloue, early 19th century, painted with cornflower sprigs beneath a continuous border of cornflowers enclosed in gilt lines, red crowned crossed batons and D mark, 26.5cm. £100-200

517

519 Three Coalport jugs, 19th century, the smallest of octagonal form, the others fluted, all painted with large arrangements of flowers, one within gilt foliate panels of a salmon ground, the smallest jug with a puce circular mark, 22.7cm max. (3) £150-200

518

519 129

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520 Two small Derby octagonal tureens and covers, c 1815-25, painted in the Imari pattern with flowering Oriental branches, and a circular handled dish and cover with the same decoration, iron red crowned crossed baton marks, small damages, 16.5cm across max. (6) £220-280

521 A pair of Ridgway sauce tureens and covers with matching centrepiece, c.1820, painted with flowers in pattern 609, the basket pierced with a scrolling design, the tureens with integral stands, painted pattern numbers, some faults, 15.5cm max (5) £250-350

522 A group of English porcelain tea wares, late 18th/19th century, including two ChelseaDerby teabowls and saucer decorated with leaf or flower swags, two cups and saucers with formal leaf designs, a fluted Derby armorial coffee cup, a rare Davenport coffee can in the Church Gresley pattern, and four Derby coffee cans with green and yellow grounds, various marks, 13.6cm max. (13) £100-200

523 A Caughley mask jug and a coffee cup and saucer, c.1780-90, the latter decorated by the Chamberlains in Worcester with two doves below the banner ‘L’Amitie’, the jug with a gilt monogram within a cornflower sprig border, and two spiral fluted trios, Caughley or Worcester, decorated with a cornflower sprig design, a crack to one saucer, 14.6cm max. (9) £100-200

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524 A fine and large Coalport vase and cover, c.1850, painted probably by William Cook with bold flower sprays including lily, dahlia, auricula, lilac and rose, the neck and shoulders draped with gilt rope twists, the domed cover with three linked rings, blue CBD monogram marks for Coalbrookdale, 39.5cm.

(2) £1,000-1,500 131

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525 A Nantgarw cabinet cup and saucer, c.1818-20, the cup painted with a landscape panel of a figure crossing a small bridge with a castle in the background, with a serpent handle, the stand with a formal gilt design, a crack to the stand, 14.8cm. (2) £600-1,000

526 A rare Nantgarw muffin dish and cover from the Hensol Castle service, c.1818-20, the circular form decorated in a simple blue and gilt sprig design, with domed cover, impressed Nant-garw CW mark, some regilding to the rim, 21cm. (2) £400-600

527 A Nantgarw bowl and an egg cup stand from the Hensol Castle service, c.1818-20, the stand of shallow rectangular form with moulded handles, both decorated by Pardoe with a simple blue and gilt berry design, impressed Nant-garw CW mark, 28cm max.

(2) £300-500

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528 A rare pair of Nantgarw duck or goose egg cups from the Hensol Castle Service, c.1818-20, of plain U-shape form on a circular foot, decorated in a simple sprig design in blue and gilt, 6.2cm. (2) £300-400

529 A Nantgarw breakfast cup and saucer from the Hensol Castle service, c.1818-20, the breakfast cup of generous proportion with a raised handle, decorated by Pardoe with a gilt and blue berry design, 16.8cm max.(2) £200-300

530 A Nantgarw trio from the Hensol Castle service, c.1818-20, comprising a coffee cup, teacup and saucer, all decorated with a berry and leaf sprig design, 14cm. (3) £200-300

531 Two pairs of Nantgarw egg cups from the Hensol Castle Service, c.1818-20, in two sizes for hen and duck or goose eggs, of plain U shape on circular feet, painted with a simple blue and gilt sprig design, 6.2cm max.

(4) £400-600

532 A pair of Nantgarw plates from the Hensol Castle service, c.181820, painted by Pardoe with a simple gilt and blue berry design, impressed Nant-garw CW marks, some gilt wear, 21.5cm. (2) £100-200

533 Three Nantgarw plates, c.1818-20, the smallest painted with a formal cornflower sprig design, the largest with a similar pattern of scattered roses and blue motifs, the last with stylized flower sprays in a bright palette, impressed marks to two of the plates, one cracked, 23.7cm max. £150-250 The last plate with paper labels for the Sir Leslie Joseph Collection, no.347, and for the Gwyneth and Ieuan R Evans Collection.

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CONTINENTAL PORCELAINS

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534 An exceptionally large KPM (Berlin) rectangular porcelain plaque, 19th century, painted with The Penitent Magdalen after Pomeo Gerolamo Batoni, lain before rockwork and reading from a book, signed ‘A Jahn’ bottom right corner, impressed KPM and sceptre mark, 34.2cm x 39.6cm. £3,000-4,000

535 A KPM (Berlin) rectangular plaque of Lorelei, 19th century, painted with the mythical sea nymph resting against rocks and holding a long strip of gauze fabric in her extended right hand, her lower half wrapped in a loose green robe, impressed KPM and sceptre mark, 25cm. £200-300

536 A fine Fischer & Mieg (Bohemian) circular porcelain plaque or tray, late 19th century, painted with a German interior scene of a couple introducing their small baby to two young ladies, within a gilded galleried rim, signed C Bauer, titled beneath ‘Der Besuch, F. Defregger’, impressed F&M mark, 30.5cm. £400-600 Franz von Defregger’s painting The Visit was executed c.1875 and is displayed at the Neue Pinakothek in Munich.

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537 A Du Paquier teabowl and saucer, c.1725-30, painted in sepia monochrome, the saucer with a gibbet beside buildings in a harbour, the underside with three flower sprays, the teabowl with two figures conversing in a continuous landscape, within a gilt line rim, restoration, 12.6cm. (2) £100-200

538 Two small Vienna cups, late 18th/early 19th century, modelled in the manner of Chinese bird feeders, painted with panels of flowers within gilt borders, each handle surmounted by a small colourful bird, blue shield marks, 4.5cm. (2) £150-200

539 A miniature German porcelain oval plaque, 19th century, painted with a girl wearing a ribboned hat and raising a wind instrument to her lips, mounted in a rectangular ebonised frame, the plaque 7.6cm. £100-200

540 A Mennecy jug, c.1760, delicately painted with a floral bouquet including tulip and rose, the reverse with a smaller spray amid scattered sprigs, the crabstock handle issuing from applied berries and leaves, incised DV mark, 13.2cm. £300-400

541 A large Doccia-style jewellery or trinket box, late 19th century, the top and sides moulded in high relief with Classical figures cavorting with dolphins, centaurs, mermen and hippocampi, the hinged lid with gilt metal mounts, blue crowned N mark, 21.5cm across. £100-200

542 A Paris porcelain bowl, 19th century, painted with a rectangular panel of two putti at play on branches, a smaller panel of a single putto harvesting corn with a sickle, the white ground brightly enamelled with further putti playing pipes and seated on elaborate leaf scrolls, the interior richly gilded, 16.5cm. £250-350

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part 543 A Herend part dinner service, modern, decorated in the Rothschild Birds pattern with Meissen-style birds perched on low branches draped with jewels. Comprising: an oval charger, two circular tureens and covers, a sauceboat and stand, seven dinner plates, eight soup plates, eight smaller plates, seven bread plates, four small bowls, eight gravy cups and covers with seven stands, two egg-shaped salt and pepper pots, a mustard pot and cover, a sugar sifter and a jug. (70) £1,000-2,000

544 Six Chantilly plates, c.1760, simply decorated with floral sprigs within basketweave moulded borders, blue hunting horn marks, 24cm. (6) £250-350

545 A group of Sèvres-style teawares, 19th century, including two jugs, three large cups, a saucer and three small dishes, all decorated with crowned gilt N initials for Napoleon, a similar large cup with the monogram for LouisPhilippe, and a veilleuse gilded with bees and the initial N, 21.5cm max. (13) £200-300

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546 A Paris porcelain tea or coffee service, 1st half 19th century, painted with scenes of putti at various pursuits in outdoor settings, reserved on a gold ground with formal leaf swag designs, the coffee pot signed for Miralal, 23 Rue Vivienne. Comprising: a coffee pot and cover, a hot water jug and cover, a milk jug, a sucrier and cover, a slop bowl, twelve cups and twelve saucers. (32) £500-800

547 A Vienna porcelain two-handled vase or tureen and cover, the porcelain c.1805, later-decorated with Classical or mythological scenes, the cover with scenes of putti, reserved within elaborate gilt borders on a deep blue ground, titled in black to the base ‘Ravissement de Helena’ and ‘Enlevenment d’Europe’, blue shield mark, some staining to the cover, 40cm across. (2) £800-1,200

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548 A pair of Paris porcelain vases, 19th century, delicately painted to the neck and shoulder with vases of flowers within feathery scrolls above a dark blue ground with a gilded stiff leaf band, raised on later marble bases, the handles lacking, some damages, 30cm. (2) £150-250

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549 A Dagoty (Paris) porcelain cabinet plate of Egyptian interest, c.1805, painted in sepia monochrome with two figures standing at the foot of the Sphinx of Gaza, the rim with a wide formal border in gilt and lilac, titled ‘Le Sphinx’ in gilt to the underside, Dagoty à Paris mark, 22.2cm. £500-700 The scene on this plate derives from Vivant Denon’s print of the Sphinx being measured by members of the Academy of Egypt.

550 A Paris porcelain cabinet plate of Egyptian interest, c.1805, probably decorated by Dagoty in sepia monochrome with two figures seated before the Medinet Habu temple of Ramesses III at Thebes, the rim with a wide border of a falcon and aquatic bird perched between formal spear panels, titled in gilt to the underside ‘Temple de Thèbes à Médjinet-âbou’, 22.4cm. £400-600 The scene on the plate derives from Vivant Denon’s drawing of 1799, published in 1802, depicting figures before the temple.

551 A Dihl et Guérhard (Paris) porcelain cabinet plate, c.1800, painted a shepherdess wading through a stream and carrying a lamb, with other sheep and goats beside, signed ‘Duchesne’, within a wide formal border of gilt palmettes, printed black mark, a small rim chip, 24cm. £150-250

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552 Three ormolu-mounted vases, the porcelain 18th century, one Sèvres and painted with Watteau-esque scenes on a bleu celeste ground, with an associated cover, a pair in the Sèrves style, painted with scenes of putti representing Music and the Arts, with ormolu mounts to the rims and feet, a Minton vase and cover in the Sèvres manner with flower panels on a turquoise ground, with gilt snake handles, and a Copeland vase with a courting couple on a blue ground, damages and restoration, 27.3cm max. (7) £300-500

553 Four ormolu-mounted vases or pots, the porcelain mid 18th century and later, including a Sèvres ice cup mounted as a vase, and a similar pot and cover, both painted with flowers on a bleu celeste ground, a Samson Chantilly-style bottle vase decorated in the Kakiemon palette, and a Japanese porcelain bowl with metal mounts to the rim and foot, some damages, 17.2cm. (5) £100-200

554 A study group of predominantly English porcelains, c.1770 and later, including two Chelsea-Derby plates, two Chelsea-Derby toilet pots and matched covers, a Derby coffee can and saucer, a Swansea teabowl, a small Minton vase, a Minton tea cup and two saucers, a Paris porcelain toilet pot and cover, and a Paris copy of a Chelsea saucer, all decorated with flowers, putti or birds in the manner of Sèvres, some damages, 22.5cm max. (16) £100-150

555 A Samson Sèvres-style miniature vase and associated stand, late 19th century, the vase painted with flowers and set with a metal mounted porcelain flower arrangement, the stand with flower garlands on a green and gilt trellis, a Samson ice cup painted with an exotic bird on a dark blue ground, a Paris porcelain small saucepan or warming pot with a wooden handle, pseudo interlaced Ls marks, and a Mennecy (Bourg-la-Reine) toilet pot and cover painted with blue flower sprigs, incised BR mark, some faults, 19.7cm max. (7) £120-180 140

556 A small group of Continental porcelains, c.1780 and later, including a small Sèvres saucer with jewelled decorated on a blue ground, a pair of miniature Dresden vases and covers, an Ansbach stand, a small Sèvres-style jug and a blanc de Chine type small libation cup, 17.5cm max.(8) £100-200

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557 A pair of Tournai soup plates, c.1770, decorated in the Hague with colourful vignettes of fancy birds perched on low fences beside trees, the spiral moulded rims with four panels of dry blue flower sprays within gilt scroll borders, blue crossed swords and dot marks, 23.2cm. (2) £100-200

559

558 A Doccia soup plate or shallow bowl, c.1775, richly decorated with the Tulipano pattern, the central design within six further floral sprays, 23.7cm. £200-300

560

559 A Vincennes-style glass cooler (seau à verre), probably 19th century, painted with scenes of Classical ruins and tumbledown buildings within gilt escutcheon panels on a white ground, flanked by flower sprays, blue interlaced Ls mark, a small rim chip, 11.2cm high. £100-200

560 A pair of Sèvres plates, c.1794, the wells painted with sprays of flowers and gilt barley, within simple foliate and floral bands, the rims with a spiralling design of gilt leaves flanked by pink and blue flowers, blue interlaced Ls mark, painter’s mark V d, 24cm. (2) £500-800

561 A silver-mounted Berlin vase mounted as a lamp, the porcelain 19th century, painted with a panel of figures playing Blind Man’s Bluff, and with scattered insects and butterflies around moulded leaf swags, blue sceptre mark, with silver mounts to the foot and rim, some damages, 31cm overall. £80-120

561

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562 A Sèvres coffee can (gobelet litron), c.1760-70, later decorated with an aquatic bird perched on flat stones by the water’s edge, reserved within a shaped border of gilt oeil de perdrix on a blue and turquoise ground, interlaced LL mark, 7.5cm. £150-250

562

563 A miniature Sèvres teapot and cover (théière litron), late 18th century, the straight sided form painted to one side with a colourful bird, the reverse with flowers, within gilt foliate borders reserved on a bleu celeste ground, interlaced blue Ls mark and painter’s mark of semi quavers, 12cm across. (2) £400-500

563

564 A Sèvres-style sucrier and cover, 1st half 19th century, painted with panels of brightlycoloured birds perched on and around branches, reserved within gilt borders on a dark blue ground, blue interlaced Ls mark and OO mark as date code for 1791, 10.3cm high. (2) £250-350

565 A Sèvres milk jug (pot à lait à trois pieds), c.1765-70, painted with a girl seated on a grassy bank and strumming a stringed instrument, reserved on a bleu lapis ground with gilt trellis panels and foliate sprays, 10cm. £200-300

564

565 566 A hard paste Sèvres milk jug (pot à lait à trois pieds), date code for 1774, painted with sprays of flowers on a white ground, raised on three stalk feet, puce crowned interlaced Ls mark enclosing date letter V above painter’s mark D.T., 11cm. £150-250

567 A Sèvres-style coffee can, late 18th/19th century, of gobelet litron shape, well painted with an interior scene of a young boy feeding a dog with a spoon beside a seated woman, reserved on a bleu celeste ground with small panels of heartsease flowers, interlaced blue Ls mark enclosing a dot, 7.7cm. £150-200

566 142

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568 A Sèvres teapot and cover (théière calabré) and a sucrier and cover (pot à sucre calabré), c.1770, both decorated with diagonal stripes in blue white and gilt within narrow seaweed bands on a blue ground, the covers with floral knops, blue interlaced Ls marks, 16cm max. (4) £400-600

569 A matched pair of Sèvres bottle coolers (seau à demi-bouteille), c.1775-80, later decorated with panels of fruit and flowers reserved within gilt foliate borders on a green ground, blue interlaced Ls marks, date codes and painter’s marks, one cracked, 17cm. (2) £400-600

570 A Sèvres ice cup stand (plateau de tasse à glaces) and three ice cups, c.1758-70, the stand of twelve-lobed form, all painted with small flower sprays on a white ground within narrow blue borders with gilt intersections, blue interlaced Ls marks, the stand with a letter F date code for 1758-59, 23cm.

(4) £1,200-1,500

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571

572

571 Two Sèvres tea cups and saucers, c.1768-70, painted with scattered pink roses between berried leafy borders, interlaced Ls marks in blue and green enclosing date letters including P and R, some damages, 13.4cm. (4) £100-200

573

572 A Sèvres saucer (soucoupe), c.1770, painted possibly by Jean-Charles Sioux l’aîné in overglaze blue enamel with flower garlands within feathered, gilt and speckled borders, crowned blue interlaced Ls mark, indistinct painter’s mark, 13.4cm. £150-200

573 Two Sèvres ice cups (tasses à glace), c.1770, painted with small flower sprays on a white ground within narrow blue borders with gilt intersections, interlaced blue Ls mark enclosing date letter R to one, 6.6cm. (2) £100-200

574 A large Sèvres hexafoil stand (plateau à pots à jus), c.1775-85, the well painted with a large spray of flowers and fruit including pink and yellow roses and a large bunch of grapes, the rim with a bleu celeste border simply edged with gilt foliate scrolls, interlaced blue Ls mark and painter’s mark ‘PTX’, 28.7cm. £250-350 The Artists’ Ledgers at Sèvres record a quantity of stock pieces decorated with fruit and flowers to the well and with bleu celeste grounds. Such stock pieces are thought to have been adapted for the Duchess of Manchester Service of 1783, which bears very similar decoration to the wells.

574 144

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575 A Sèvres circular dish from the Guirlande de Barbeaux service, date code from 1787, painted with a central pink rose encircled by cornflowers around a pink circlet and a berried leaf garland around a blue border, gilt dentil rim, overglaze crowned blue interlaced Ls mark, date letters KK and a fleur de lys painter’s mark for Taillandier, some wear, 18cm. £300­500 The Guirlande de Barbeaux service was first ordered for Louis XVI in 1783, and deliveries were staggered up until 1790. Cf. David Peters, Sèvres Plates and Services of the 18th Century, Vol. III, 83-2 and 85-2. According to Peters, the small compotiers are listed in a document with dessert plates and small baskets and so may have been designed to be used together. Four are believed listed in the 1787 supplement. This would appear to be the only recorded example of this size and shape.

576 A Sèvres coffee can and saucer (gobelet litron et soucoupe), c.1780, the can painted with a figure of Justice holding scales and a sword, the sides and saucer with small Classical portrait medallions suspended from ribbons within cornucopia and small flower garlands on a gold ground, the can titled in blue beneath, the saucer with a gilt interlaced Ls mark, restored, 13.7cm.

(2) £300-500

577 A Sèvres ormolu-mounted vase and cover, c.1765, the baluster body glazed a rich apple green, raised on a square footed ormolu base beneath a laurel wreath band, the cover with a floral finial, part of the ormolu mount lacking, 23cm. (2) £400­600 Cf. Christie’s, New York, 1st November 2018, lot 1021 for a pair with the full mounts.

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578 A Sèvres two-handled sauceboat from the Comte d’Aranda service, date code for 1786, beneath each spout painted with a panel of flowers and fruit, reserved in a gilt border on a dark blue ground with gilt foliate scrolls, blue interlaced Ls mark with date letters jj, painter’s mark for Bouillat and gilt HP mark for Henri-Martin Prévost, a tiny restored chip to one handle, 23.3cm. £2,000­2,500 The Comte d’Aranda was the Spanish Ambassador-Extraordinary and Plenipotentiary to France from 12 September 1773 to 23 September 1787, and this service was a gift to him at the end of his ambassadorship.

The gift is recorded in the Journal des Présents du Roi on 16.9.1787 as ‘une Service de porcelaine Sèvres’ with a total price of 43,428 livres.

A substantial part of the service was sold at Christie’s, London, 11 March 1836, lots 72-84 and 86-93.

Cf. David Peters, Sèvres Plates and Services of the 18th Century, vol. IV, no. 87-7 for a full discussion of this service.

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579 A Sèvres saucer (soucoupe), date code for 1785, the well painted by Armand Léandre with a solitary figure holding a staff and standing beneath tall trees surveying a distant view, the rim with an elaborate formal gilt border on a deep blue ground, the underside rim with a continuous gilt leaf band, blue interlaced Ls mark enclosing date letter HH above a painter’s mark LA, 14.5cm. £150­250 Provenance: Sotheby’s, Mentmore Sale, 1977.

580 A Sèvres octofoil dish, date code for 1775, later decorated in imitation of the service for Prince Henry of Prussia, the well painted with a flower spray within a gilt foliate border reserved on a green ground within a continuous leaf band, blue interlaced Ls mark, painter’s mark, 21.5cm. £150-250 A service with this decoration was presented to Henry of Prussia by King Louis XVI when the Prince visited the French Court in 1784. A true example is in the collection of the Musée national de céramique, Sèvres (MNS 15.054).

581 A Sèvres octagonal tray or stand, date code for 1791, the well painted with a basket of flowers including tulip, rose, auricula and lilac, resting on a marble shelf, reserved on a sea green ground within a formal gilt border, blue interlaced Ls mark enclosing OO date code, painter’s mark B, some later decoration, a chip to one handle and restoration to the other, 24.7cm. £200-300

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582 A Meissen mustard pot and cover, mid 18th century, of eight lobed form, moulded with floral panels and painted with birds, rodents and flowers, the cover with a bird finial, a barrel-shaped mustard pot painted with birds, butterflies and flowers beneath an elaborate gilt border, and a 19th century Meissen egg-shaped spirit urn, painted with figures in rural settings, various blue crossed swords marks, some damages, 16.3cm max.

(5) £250-350

583 A Meissen soup plate, c.1740, moulded with the Dulong pattern, the well painted with a large bunch of grapes, the moulded rim with panels of animals, birds and flowers, blue crossed swords mark, a small footrim chip, 23.8cm. £100-200

584 A Meissen teapot and cover, c.1760-70, the bullet-shaped body painted in a predominantly green palette with Watteau-esque scenes of figures in garden settings, with wishbone handle and the spout modelled as a mythical serpent, blue crossed swords mark, firing flaw to the base, minor chips to the cover, 20cm across. (2) £350-450

585 A Meissen saucer, c.1740, finely decorated in purpurmalerei with flower sprays and small scattered leaf sprigs, and a tea cup painted in the same palette with an Indianische Bluemen design, c.1780, blue crossed swords marks, 13.4cm max. (2) £100-150

586 A good Meissen coffee cup and saucer, 19th/20th century, painted with purpurmalerei scenes of figures, a couple walking with a child, a gentleman mounting a horse, above gilt foliate scrollwork, the cup with a delicate angular handle, blue crossed swords marks, 13.1cm. (2) £300-400

587 A deep Meissen bowl, c.1740, moulded to the exterior with a band of stiff leaves, painted with sprays of deutscheBlumen and single scattered flowers, blue crossed swords mark, broken and repaired, 16cm dia. £100-150

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588 A Herend porcelain service, modern, decorated in the Rothschild Birds pattern with Meissen-style birds perched on low branches draped with jewels.

Comprising: two teapots and covers in two sizes, a coffee pot and cover, a hot water jug and cover, three milk jugs in three sizes, five tea cups and large saucers, four coffee cups and small saucers, four bowls, four shallow bowls, four x 22.6cm plates, two x 26.2cm plates, a footed comport, a toast rack, two egg cups, two egg-shaped salt and pepper shakers, an oval bowl, two bottle coolers in two sizes, a shaped tray or stand, a small pin tray or spoon rest, three small tubs in two sizes. (57) £600-1,000

589 Eight Meissen saucer dishes, 19th century, six painted with songbirds perched on branches, one with aquatic birds to the well within small panels of flowers in blue monochrome, the last with a flower spray to the well with four panels of birds to the rim, and a Meissen cup and saucer painted with birds, blue crossed swords marks, 17.3cm max. (10) £150-250

590 A Meissen part ornithological dinner service, 18th/19th century, painted with various garden and songbirds perched on low branches, blue crossed swords marks. Comprising: two large meat dishes, two oval comports, two sauceboats, eight soup bowls and two plates. (16) £400-600

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591 A pair of Meissen wine coolers, 19th century, each painted with a continuous landscape scene of figures trading and loading boats in a harbour, divided by narrow gilded columns with a foliate design, the sides applied with satyr mask handles, blue crossed swords and star marks, one incised E174, 10.5cm high. (2) £1,000-1,500

592 A pair of Meissen vases or urns, mid 18th century, the fluted sides moulded with flowers, painted with flower sprays in puce and green camaieu, with shell handles, blue crossed sword and dot marks, 24cm. (2) £500-800

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593 A Meissen armorial tureen and cover, mid 19th century, after an earlier model by J J Kändler, of elaborate double-walled form, painted with small landscape panels within applied floral garlands, the cover applied with medallions painted with the arms of Saxony and flanked by putti, the finial formed as a crown, blue crossed swords mark, incised b136, impressed 99, some losses, 25.5cm across. (2) £1,500-2,000

594 A rare Meissen Kapuzinerbraun ground two-handled saucer or stand, c.1730, painted in underglaze blue with a figure fishing beside sloping rocks, within trailing leaf sprays and a trellis border, the underside with a coppery brown glaze, blue crossed swords mark above a triangle, one handle restored, 18.5cm. £300-400

595 A Meissen sugar caster or sifter, c.1760, the fluted body moulded with floral swags issuing from cherub masks, painted with small vignettes of figures and animals, the tall domed cover pierced with a multitude of holes, blue crossed swords mark, chipping to the flange, 18cm. (2) £150-250

Cf. Bonhams, The Hoffmeister Collection of Meissen Porcelain Part 1, 25th November 2009, lot 106 for a similar saucer with a pouring cup.

Paper label for the Blyton Blue collection, no.80.

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596 A pair of Meissen plates, c.1770, boldly painted with flowers and flying insects within a shaped gilt rim, blue crossed swords and star marks for the Marcolini period, one chipped to the footrim, 24cm. (2) £100-200

597 A Meissen oval basket, 19th century, painted in the manner of Watteau with a minstrel playing the lute to his companion who reclines against rocks, the shallow rim pierced with a stylized floral design highlighted in pink, green and gilt, blue crossed swords mark, 29.5cm. £150-250

598 A pair of Meissen reticulated baskets, c.1770, the sides elaborately pierced and moulded with fruit, flowers and tied ribbons, the interiors painted with flower sprays, blue crossed swords and dot marks, small restorations, 20.6cm across. (2) £100-200

599 A pair of Meissen-style wine or glass coolers, 19th century, the Ushaped forms painted to two sides with scenes of putti at various pursuits in puce monochrome, reserved within quatrefoil gilt panels on a pale green ground, blue crossed swords marks, 13cm high. (2) £150-200

600 A pair of Meissen ornithological double-ended sauceboats, 19th century, painted with vignettes of songbirds, the interiors with colourful insects, and a pair small Meissen baskets painted with flowers insects, the rims applied with flowers, some damages and restoration, 22.4cm max. (4) £100-200

601 Literature: The Schulz Codex: Das Meissener Musterbuch Fur Horoldt-Chinoiserien, 1978 edition published in Leipzig. One folder of images showing chinoiserie decoration from the Meissen pattern book.

Limited edition of 1500. £100-200

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602 A large Meissen mantel clock and stand, 19th century, the clock case modelled with four putti emblematic of the Four Seasons, seated on foliate scrolls picked out in green, pink and gilt, the whole applied with flowers and leaves, around the clock dial with an ouroboros, the triangular stand painted and applied with flowers, blue crossed swords marks, incised 2179 to the base, some damages, 58.5cm. (2) £800-1,200 153

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603 Two Meissen figures of girls, 19th century, one holding blooms in her apron over a small plant pot, the other carrying a basket of grapes over her left arm, a further bunch held in her right hand, raised on low scrolled bases, blue crossed swords marks, some restoration, 12.3cm max. (2) £100-200

604

603

604 Two Meissen figures of girls dancing, 2nd half 18th century, each with one foot raised and arms positioned, blue crossed swords marks, some restoration, 12.2cm. (2) £100-200

605 A pair of Meissen figures of children, 19th century, the boy carrying a basket of flowers, his companion with further blooms in her apron, raised on low scrolled bases, blue crossed swords marks, 12.8cm max. (2) £100-200

606 Two Meissen figures of female musicians, 2nd half 18th century, one playing a hurdygurdy, the other a Spanish girl playing a guitar, wearing a lace headdress, blue crossed swords marks, some restoration, 13.3cm max. (2) £100-200

605

607 Two Meissen figures of child musicians, 2nd half 18th century, a boy playing the bagpipes and wearing a patterned jacket, the other a girl playing a tabor, raised on low bases applied with flowers, blue crossed swords marks, some restoration, 12.5cm. (2) £150-250

606

608 A pair of Meissen miniature busts emblematic of Spring and Winter, mid 18th century, Spring modelled as a Classical maiden wearing a diadem of flowers, Winter as a bearded man wearing a fur-lined cloak, raised on chamfered square socles, minor faults, 8.3cm max. (2) £200-300

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609 A set of Meissen figures of the Five Senses, modern, each modelled as a seated lady with varying attributes emblematic of Touch, Hearing, Sight, Smell and Taste, raised on low bases with gilt detailing, blue crossed swords marks, 14.8cm max. (5) £400-600

610 A pair of Meissen figures of children, 19th century, modelled as a boy seated with legs crossed on a high-backed chair, his companion tatting, each raised on a pierced base, and a third Meissen figure of a girl with her doll, blue crossed swords marks, some damages, 14cm max. (3) £100-200

611 A composite Continental porcelain monkey band (affankapelle), 19th/early 20th century, the hirsute musicians typically modelled wearing colourful costumes and raised on low scrolled bases, various marks including AR monograms and crossed swords, some damages. Comprising: a conductor, four trumpeters, two French horn players, four oboe players, three clarinet players, a bagpiper, two cellists, two violinists, a harpist, a hurdy-gurdy player, three percussionists, a piano player and two singers. (25) £400-600 155

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612 A Meissen figure of a young Bacchus, c.1770, wearing a stag pelt tied around his middle and shoulders, raising a gilt goblet in his left hand, wearing a grapevine wreath and with a further basket of grapes by his feet, incised crossed swords in a triangle mark, incised 1696, a few small chips, 15.2cm. £250-350

613 A Meissen figure of a Classical maiden or muse, mid 18th century, standing and holding a goblet, in her right hand, a large book tucked under her left arm, a putto at her feet reading from a further book, 14.3cm. £150-250

614 A Meissen figure of a lemon seller, mid 18th century, modelled by F E Meyer, standing and holding the edge of his apron, full of pale lemons, with further fruit and flowers scattered around his feet, faint blue crossed swords mark, some restoration to his left arm, 13.5cm. £250­350

615 A Meissen figure of a boatman from the Cris de Paris series, mid 18th century, modelled by J J Kändler and P Reinicke, with a short oar slung over one shoulder and one hand on his hip, wearing a lilac jacket over a striped outfit, faint blue crossed swords mark, minor restoration, 13.5cm. £300-500

Cf. Martin Eberle, Cris de Paris-Meissener Porzellanfiguren des 18.Jahrhunderts, no. 7 for a similar figure, previously thought to have been part of this series.

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616 A Meissen 21 piece monkey band (affankapelle), modern, the simian musicians wearing wigs, bonnets and brightly coloured costumes, playing a variety of woodwind, brass and percussion instruments, four seated singers, a piano player, and a conductor with arms outstretched and a separate music stand, blue crossed swords marks, 17.8cm max. (22) £1,000-2,000

616

617 A Meissen allegorical figure group of the Broken Bridge, 19th century, after the model by Acier, the lady tentatively stepping onto wooden planks that Cupid strews with roses, her companion urging her forward while a further putto pushes her on to womanhood from behind, and a Meissen figure of a lower girl, carrying various blooms in a hat tied with ribbons, blue crossed swords marks, minor faults, 25cm max. (2) £300-400

618 Three Meissen figures from the Five Senses series, 19th century, of Smell, Sight and Touch, each modelled as a lady seated by a table with varying attributes, blue crossed swords marks, and a Minton candlestick figure of Hearing after Meissen, a lady seated at a small piano, some faults, the Minton figure lacking the sconce, 17cm max. (4) £800-1,200

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619 A pair of Meissen figure groups from the Five Senses, 19th century, emblematic of Taste and Smell, the former modelled as a Classical maiden and a monkey eating fruit from a bowl, the latter with a maiden sniffing a flower and holding an incense burner suspended from her wrist, a putto picking roses at her feet while a dog sniffs at a sausage beside a disembodied nose, blue crossed swords marks, minor losses, 28.3cm. (2) £500-800

620 A Meissen allegorical figure group, mid 18th century, emblematic of Love, with Venus holding the reins of two harnessed doves, Cupid picking up his quiver of arrows, all on a low scrolled base applied with flowers, small repairs, 13cm high. £300-500

These figures were originally modelled by J F Eberlein in 1748 and embellished in later years.

621 A Meissen figure of a lemon seller, mid 18th century, modelled by F E Meyer, standing and holding the edge of his apron full of lemons, with further fruit and flowers scattered around his feet, some restoration to his left arm, 13.5cm. £250­350 Cf. Martin Eberle, Cris de Paris-Meissener Porzellanfiguren des 18.Jahrhunderts, no. 7 for a similar figure, previously thought to have been part of this series.

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622 A Meissen figure of a lady, 19th century, standing beside a small tripod table with a fan of cards in her hands, wearing a plumed hat, raised on a circular base with moulded scroll decoration, blue crossed swords mark, incised F64, 16.2cm. £150-250

623 A German porcelain allegorical figure group of Music, 19th century, probably Berlin, a Classical figure holding a lyre and scroll beside a seated boy playing the bagpipes and a faun pulling the tail of an angry cat, raised on a square base, some damages, 31.3cm. £100-200

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624 A pair of Meissen candlestick figure groups, late 19th/20th century, each modelled after Ernst Leuteritz with a figure dancing beneath an arbour encrusted with flowers, raised on scroll bases picked out in puce, turquoise and gilt, the sconces painted with flowers, blue crossed swords marks, incised 166, 22cm. (2) £200-300

625 Three Continental porcelain figures, 19th century, one Meissen of a young fish seller upending his basket of wares, a Thuringian figure of a boy in 18th century dress carrying a posy of flowers, and a German porcelain figure of a flower girl raised on a moulded square base, minor faults, 13.8cm max. (3) £150-250

626 Two miniature Meissen figures with cows, 18th/early 19th century, one of a man leaning against the back of a heifer, the other of a girl riding on the back of a bullock with a pierced basket, each on a low base applied with flowers, blue crossed swords marks, some damages and losses, 9.5cm across. (2) £100-200

627 Three Höchst figures of children, c.1770-80, one boy sitting on a rocky outcrop with a covered jug and an upturned beaker in his hand, another barefoot on a grassy base beside a hat containing birds’ eggs, the last standing beside a basket containing apples, all raised on low grassy bases, blue wheel marks, some damages to the last figure, 13cm max. (3) £250-350

628 A Meissen figure of Cupid, 20th century, seated on a low stump and preparing to pierce a heart held in his left hand, raised on a socle base, blue crossed swords mark, incised L101, 16cm. £150-250

629 A Prague (Czechoslovakian) figure of a beggar musician, 19th century, after Kändler’s model at Meissen, seated in ragged clothing and playing the hurdy-gurdy, impressed ‘Prag’ mark, 12.3cm. £100-150

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630 A Meissen figure of Count Brühl’s Tailor, 19th century, after the model by J J Kändler, the eccentric figure modelled astride a billy goat which holds a flat iron his mouth, the tailor brandishing a large pair of scissors above his head, two kids sitting in a half barrel strapped to his back, blue crossed swords mark, some restoration, 23.5cm high. £100-200

631 A Russian porcelain figure of a dog, 19th century, Popov factory, seated on its haunches and panting with an open mouth, its coat splashed with brown patches, impressed mark, 19.5cm high. £200-300

Heinrich von Brühl was a Polish-Saxon statesman and diplomat with a famed reputation as a dandy and profligate. Frederick II of Prussia is reported as having said of him, “Brühl had more garments, watches, laces, boots, shoes and slippers than any man of the age. Caesar would have counted him among those curled and perfumed heads that he did not fear”.

632 A pair of Samson figures of fancy pigeons, late 19th century, after Meissen, each with a feathered crest, their chest plumage decorated a speckled lilac, their tail feathers in shades of brown and orange, blue crossed swords and S marks, 18.5cm high. (2) £150-250

633 A pair of Meissen-style figures of pug dogs, 19th century, after the models by J J Kändler, each seated on a cushion painted with indianischeBlumen, the dog’s collar studded with bells, the bitch’s with a rosette, faint blue crossed swords type mark to one, small damages and restorations, 11.6cm high. (2) £100-200

634 A Meissen figure of a canary, 20th century, perched on a stump with head turned, a Meissen-style model of a swan after J J Kändler, a Meissenstyle model of a rhinoceros, left in the white, a Royal Worcester model of a Spade fish among coral by Ronald van Ruyckevelt, and a small spill vase flanked by two white mice, 18cm max. (5) £200-300

635 Five Herend figures of animals, modern, including two elephants in two sizes, a hooded cobra and a group of two rabbits, all decorated in a green scale ground with gilt detailing, and another rabbit group left in the white, printed marks, 18cm across max. (5) £300-500

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636 A pair of Meissen figures of parrots, 20th century, each perched on a tall stump with head turned, its plumage brightly coloured, blue crossed swords marks, 32.5cm. (2) £250­350 Provenance: the collection of Vice-Admiral Reginald Vesey Holt, C.B., D.S.O., M.V.O. (1884-1957), and thence by descent.

637 A Continental porcelain figure of a spaniel, 19th century, the dog modelled with open mouth, seated on its haunches with head turned, its coat decorated with patches of brown, spurious blue crossed swords mark in imitation of Meissen, faint incised shield mark after Vienna, 19.5cm. £100-150

638 A Meissen figure of a wagtail, 19th/early 20th century, perched on a tall stump applied with leaves, its head turned slightly to the left, blue crossed swords mark, some good restoration to the tail, beak and leaves, 22cm. £100-200

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640

639 A French biscuit porcelain figure of L’Amour Falconet, 19th century, after Sèvres, Cupid seated on a cloud scroll above his quiver of arrows, a rose at his feet, indistinct impressed mark beneath, one wing broken and restuck, 24cm. £100-150 This model was first produced at Sèvres after about 1758 and was modelled by Etienne-Maurice Falconet.

640 A Royal Copenhagen biscuit porcelain figure of Mercury, 19th century, after the 1818 statue by Bertel Thorvaldsen, seated on a cloth draped over a stump, his right hand holding the hilt of his sword, wearing a winged hat, blue waves mark, 27.8cm. £250-350 641 A KPM (Berlin) biscuit porcelain figure of Frederick the Great, 19th century, after the 1793 sculpture by Johann Gottfried Schadow, the monarch modelled wearing military uniform and standing with one hand on his hip, raised on a square base, cancelled blue sceptre mark, his baton lacking, some chipping to his fingers and the base, 26.8cm. £250­350 Cf. Victoria and Albert Museum, Accession No. 4746&A-1858 for an example gifted to the museum by Prince Albert.

642 A pair of Sèvres biscuit porcelain figures of Le Tailleur de Pierres and La Blanchisseuse, late 19th century, after the mid 18th century models by Jean-Baptiste de Fernex and Charles-Louis Suzanne, the first modelled as a boy chiselling the side of a block of stone, his companion beating her laundry against rocks, each raised on a rectangular base, impressed ‘SEVRES’, one figure incised ‘8.96 LP’, small damages, 17cm high max. (2) £300-400 162

643 A near pair of miniature Mennecy figures of market traders, c.1760, one standing behind a tall basket of grapes with a single bunch in one hand, his companion with a tray of flowers suspended from her neck, each raised on low rocky bases, small losses, 9.2cm. (2) £200-300

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644 Two miniature Niderviller biscuit porcelain figures, late 18th century, one possibly of Neptune wearing a loin cloth and standing beside an upended urn of water, the other of a Classical maiden holding a circular tray and standing beside a short column, incised No. 131 and No.91, 11.5cm. (2) £80-120

645 A Sèvres biscuit porcelain figure of la Petite Fille a la Cage, c.1760, modelled by Falconet after Boucher, a young girl holding her apron in one hand, her hand raised to her lips, raised on a rectangular base, an incised F to the underside, 21.5cm. £250-350 Also known as La Cage Vide où La Douleur de Babet, this Sèvres biscuit figure and its pendant L’Enfant aux oiseaux are based on Favart’s comedy La Vallée de Montmorency. She was originally conceived with a birdcage supported on her apron (see E. Bourgeois, Le Biscuit de Sèvres au XVIIIe Siècle, Paris, p.18).

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646 A Höchst figure of Mars, c.1765, modelled in warlike pose, wearing a plumed helmet and leaning back with his shield held up to protect his face, left in the white, blue wheel mark, incised letters, 13.3cm. £300-500

647 An Italian porcelain white-glazed figure of Pulchinello, late 18th century, from the Commedia dell’Arte, the hunched figure standing with one hand on his hip, wearing a buttoned coat, pointed hat and his traditional mask, raised on a tall moulded base, 16cm. £200-300

648 A Russian bisque porcelain figure of an Eijnar Laplander Mother and Child, late 19th century, from the People of Russia series, each swaddled in fur clothes, the mother seated on a rocky stump with the child on her lap, titled to the front of the base, impressed mark, 20cm. £800-1,200 The figures from this series were derived from a book by T de Pauli published in 1861 and titled Description Ethnografique ded People de la Russe.

649 A Russian porcelain figure of a milkmaid, 19th century, Imperial Porcelain Manufactory, modelled by Stepan Pimenov, wearing a buttonthrough blue dress over a white blouse, with two pails suspended from a yoke around her shoulders, minor faults, 24.8cm. £150­250 Cf. G. Agarkova and N. Petrova, Lomonosov Porcelain Factory, St. Petersburg, 1744-1994, p. 49.

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THE JILL MCNEILE COLLECTION The Stag Hunt pattern has been a subject of fascination for Jill McNeile for a number of decades and, in 1988, a paper on that subject appeared under her name in the Transactions of the English Ceramic Circle.

In the paper, Jill explored the Chinese origins of the pattern (citing the earliest known piece as a covered bowl dating to c.1745­50), believing it to have been produced for the European market and probably influenced by the style of decoration produced at the Meissen factory in Germany. She goes on to describe how the pattern is a pastiche of true hunting methods and therefore likely to be an artist’s invention rather than copied from a print.

The pattern continued in popularity throughout the 18th century; Chinese­decorated pieces tended to ease off after about 1760, taken over by European decoration on Chinese porcelain, and by wares produced at English factories from about 1760 onwards. The pattern was taken up primarily at Worcester, Derby, Lowestoft and some of the Liverpool factories – it is unknown at either Chelsea or Bow – and is described by the author as being rather “pastorale” in tone. Many of the Chinese pieces that were later enamelled had the decoration carried out at the atelier of James Giles in London.

Jill’s knowledge of the Stag Hunt pattern is matched by her collection, which was amassed over a long period and clearly demonstrates the subtle differences in decoration between Continents and over the half century that the pattern was in use. Whilst there are pieces in public collections that she has long coveted, there are undoubtedly treasures within her own collection which will delight any scholar in 18th century porcelain.

650 A rare and early Worcester sauceboat, c.1755-56, of curled leaf shape but moulded with panels of flowers and leaves, the rim with a continuous band of flowerheads and leaf scrolls, painted within the panels with the Stag Hunt pattern, the handle formed as a stalk, 22cm across. £600­1,000 Cf. Bonhams, The Zorensky Collection Part II, lot 17 for an identical example, previously thought to be virtually unique.

Provenance: this saleroom, 7th May 2014, lot 664.

651 A Derby teapot and a coffee cup, c.1758-60, decorated in polychrome enamels with the Stag Hunt pattern in cloud shaped panels, within a gilt spearhead border, the cup with a wishbone handle, the teapot’s cover lacking, 19.7cm max. (2) £100-200

650

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652 A Worcester teapot and cover and a Richard Chaffers (Liverpool) teapot, c.1760-70, painted with versions of the Stag Hunt pattern in polychrome enamels, within gilt spearhead borders, the Chaffers teapot with a ground of bianco-sopra-bianco decoration, one cover lacking, the other with a restuck chip, 19.5cm max. (3) £200-300

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653 A Worcester coffee cup and saucer, c.1755, painted with the Stag Hunt pattern, a black dog in pursuit of a stag while figures converse beside, workman’s mark to the cup, and a Worcester ‘Scratch Cross’ mug with a version of the Stag Hunt reserved within two panels, the interior rim with a ruyi scroll border, an incised cross inside the footrim, 12cm max. (3) £300-500

654 Four Worcester teabowls, c.1755-58, moulded with rococo panels on a fluted ground and painted with versions of the Stag Hunt pattern, and a Worcester feather-moulded milk jug, the exterior painted with a Stag Hunt scene, the interior with a floral border in underglaze blue, workman’s marks to the jug and one teabowl, minor faults, 9.5cm max. (5) £150-250 One teabowl with a paper label for the Norman Collection.

655 Five Chinese and European decorated Chinese porcelain teapots and covers, 18th century, the globular bodies originally with bianco-sopra-bianco decoration of flowers, birds and foliage, later decorated in Europe with varying Stag Hunt scenes in polychrome enamels, some damages and restoration, 19.2cm max. (10) £300­500

656 Five Chinese and European decorated Chinese porcelain bowls, 18th century, three with anhua decoration, one with flower sprays in underglaze blue, later enamelled with variations of the Stag Hunt pattern and some bianco-sopra-bianco decoration, some damages and repairs, 16cm max. (5) £100-200

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657 A composite Chinese porcelain tea service, 18th century, originally with bianco-sopra-bianco decoration of flowering branches, enamelled with the Stag Hunt pattern with gilt spearhead rims. Comprising: a teapot and cover, a tea canister and cover, a milk jug and cover, a slop bowl, a spoon tray, six teabowls, six coffee cups and six saucers. (26) £500-800

658 A group of English porcelain teawares, c.1760-1800, mostly Worcester, variously decorated with versions of the Stag Hunt pattern in polychrome enamels, some with spearhead borders, including six coffee cups, a large teabowl and saucer and two miniature teabowls and saucers, some faults, 13.5cm max. (12) £150-250 One coffee cup with a paper label for Alixe W McCart Collection.

659 A composite Chinese porcelain part tea service, 18th century, the porcelain originally decorated with various flower sprays in biancosopra-bianco, later enamelled with varying Stag Hunt scenes within gilt spearhead borders.

Comprising: a teapot and cover, a slop bowl, a sugar bowl, three coffee cups, three teabowls and six saucers. (16) £300­500

660 A group of Chinese and European decorated porcelain teawares, 18th century, including five teabowls and saucers, a trio, two teabowls, five coffee cups, a saucer and a milk jug, variously decorated with variations of the Stag Hunt pattern, some damages, 13.3cm max. (22) £400-600

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661 Two small Chinese qingbai dishes, Song dynasty, (960-1279 AD) of shallow cylindrical form incised with a foliate design, and a small Swatow vase or jar, early 17th century, painted in blue with small floral panels on a trellis ground, a repair to one dish, 9cm max. (3) £200-300

662 A Bow white-glazed libation cup, c.1752-55, the flared body with everted rim, applied to one side with a spray of flowering magnolia, the reverse with a spray of prunus, raised on a reticulated base, and a Chinese blanc de Chine example from which the Bow version derives, 10.9cm across max. (2) £400-600

663 A Chinese blanc de Chine English decorated beaker, c.1700, the body moulded with flowering branches and later enamelled with banded hedges and scattered flower sprays in a Kakiemon palette, and a Chantilly peach-shaped cream jug with similar decoration, the jug damaged and repaired, 7.1cm max. (2) £150-200

664 A group of Chinese and Japanese blue and white porcelains, late 17th to 19th century, including a Kangxi hexagonal teabowl and saucer painted with Long Eliza figures and a boy playing, a Chinese hexagonal salt with floral panels, a petal-lobed dish with birds on flowering branches, two butter dishes and covers and two custard cups and covers for the export market, a small Chinese bird feeder painted with figures, an Arita plate with flowerheads, and a small Chinese dish for the Japanese market, with a landscape scene and a Batavian underside, some faults, 20.2cm max. (15) £250-350

665 A Chinese Brinjal bowl, Kangxi (1662-1722), painted in ‘egg and spinach’ splashes of green, yellow and manganese, and three small monochrome vases, 19th century, one applied with a dragon to the shoulder and decorated in a mottled puce and turquoise glaze, another in a crackled green glaze, the last of solifleur form and glazed in black, damages and repairs, 15.5cm max. (4) £80-120

666 A group of Chinese teawares, 18th century, including a Yongzheng teabowl and sauce painted in rouge de fer for the Japanese market, a famille verte teapot painted with birds and insects on flowering branches, a Qianlong teapot stand of lotus leaf form, a Chinese soft paste coffee cup applied with flowers, a two-handled cup cup with European decoration and an enamelled coffee cup, some faults, 18.5cm max. (7) £150-200 167

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667 A large Chinese porcelain Kraak type bowl, c.1635-50, painted in underglaze blue to the interior and exterior with panels of Chinese figures at various pursuits beside duck ponds, flanked by formal floral designs in the Iznik manner, cracked and riveted, 36cm dia. £400-600

668 Two large Chinese blue and white bowls, 17th/18th century, both of lotus form, one painted with vertical panels of figures at various pursuits, the base with a band of flowers, six character Chengua mark but not of the period, the other of shallower form and painted to the exterior with scholars and other figures at tables and in a garden, six character Jiaqing mark and of the period 1796-1820, some damages, 24cm. (2) £300-500

669 A large Chinese porcelain oval dish, 2nd half 18th century, painted in the famille rose palette with sprays of European flowers, the cavetto with floral panels on a diaper ground, the rim with a gilt spearhead border, 35.8cm. £100-200

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ENGLISH PORCELAINS OF THE 18TH CENTURY

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670 A pair of Derby figures of the Italian Farmers, c.1765, he standing and holding a cockerel, his companion with a hen, each dressed in elaborately patterned costume and standing before tall flowering bocage, raised on scrolled bases picked out in turquoise and gilt, small losses, 25.5cm. (2) £200-300

671 A pair of Derby candlestick figures of the Ranelagh Dancers, c.1760-65, each standing with one hand resting on a flower-encrusted branch supporting a pierced sconce, their other hand resting on their hip, raised on tall scrolled bases, 27cm. (2) £200-300

The Italian Farmers were so called because it was believed they were copied from Doccia originals. However, both the Doccia examples and the Derby derive from a model made at Meissen.

672 A pair of Bow figures of a gallant and his companion, c.1760, possibly emblematic of Matrimony and Liberty, the lady holding a birdcage, her companion with a nest containing three chicks, a further nest containing eggs at his feet, each raised on a tall pierced base with gilt detailing, minor faults, 21cm. (2) £200-300

673 A matched pair of Derby figures of a piping shepherd and his companion, c.1765, the young gallant playing his pipe while his companion dances, standing before flowering bocage with a dog and a recumbent lamb, raised on scrolled bases, some damages and restoration, 22cm. (2) £150-200

674 A pair of Derby figures of a harvester and his companion, c.176065, standing before elaborate flowering bocage and raised on tall scrolled bases picked out in green and gilt, small losses, 26.5cm. (2) £300-500

675 A pair of Derby allegorical figures from the Five Senses, c.1765-70, personifying Sight and Smell, each modelled as a young man, Smell seated next to a dog and holding flowers up to his nose, Sight seated beside an eagle with a spyglass at his feet, some damages and restorations, 17.7cm max. (2) £400-600

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676 A rare and large Derby allegorical figure of Smell, c.1765, modelled as young boy seated on a flower-encrusted stump beside a basket of further flowers, holding a small posy to his nose, his left hand reaching out to the dog at his side, a small amount of good restoration, 26.5cm. £450-550

677 A rare Derby figure group of Isabella with a Gallant and Jester, c.1760, after a Meissen group of The Hypochondriac by J J Kändler, the young lovers canoodling before flowering bocage, attended by a subservient Harlequin proffering chocolate cups on a small tray, minor faults, 28cm. £800­1,200 Cf. Len and Yvonne Adams, Meissen Portrait Figures, p 190, for the original group, which includes a fourth figure behind the couple.

678 A large Derby figure of John Wilkes, c.1765-70, standing and resting one hand on a square plinth, atop of which rests a scroll inscribed ‘Bill of Rights’, draped in a long pink cloak, a putto to his right, holding a Phrygian cap on the end of a stick and supporting a book titled ‘Lock [sic] on Gov’t’, raised on a scrolled base, minor losses, 30.3cm. £400-600 John Wilkes (1725-1797) was an English politician and radical journalist whose criticism of the King in his magazine ‘The North Briton’ earned him a warrant for his arrest for libel in 1763. Citing parliamentary privilege, he was cleared of the charge and went on to become Lord Mayor of London in 1774.

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679

680

681

679 A rare Derby Classical figure of Nike as Winged Victory, c.1765, the goddess draped in loose robes with a gilt sun motif on her breast, holding a laurel wreath in her left hand, raised on a pierced scrolled base, one wing a replacement, 24.8cm. £150-250 680 A Derby figure of Britannia, c.1760-65, resting one hand on her shield which in turn rests on the head of a lion, wearing a helmet and standing before flowering bocage, the scrolled base applied with military trophies, small losses, 27.5cm. £150-250 681 A large Derby figure of Mercury, c.1760-65, wearing a winged helmet and holding a caduceus in his left hand, standing amidst cloud scrolls on a base picked out in pink, green and gilt, some restoration, 32.3cm. £200-300

682 Five Derby figures, 1st half 19th century, including a pair of musicians raised on pierced and scrolled bases, a female lute player seated on a high backed chair, and a pair of putti carrying baskets of flowers, some damages, 20.5cm max. (5) £200-300

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683 A matched pair of Derby figures of musicians, early 19th century, he seated and playing the bagpipes, she the lute, each wearing a feathered head scarf, and a small Derby figure of a boy with a dog, raised on a pierced circular base, some restoration, 18.8cm max. (3) £100-200

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684 A pair of Bow figures of dancers, c.1760-65, he with his arms outstretched and stepping forward with his left foot, his companion holding the corners of her floral apron, each raised on a pierced scrolled base with turquoise and gilt detailing, red anchor and dagger marks and blue crescent marks, some good restoration, 18.9cm. (2) £500-800

685 A large pair of Derby figures of Fame and Mercury, c.1760-65, the winged Fame blowing a long horn, Mercury wearing a winged hat and holding a caduceus, some damages and restoration, 34cm max. (2) £250-350

686 A pair of Bow figures of Air and Fire, c.1760-65, from the Elements series, Air modelled as a girl holding her robe above her head and standing beside a large eagle, Fire as a a young man beside a flaming brazier, a phoenix rising from flames beside him, each raised on a tall pierced base, damages and restoration, 26cm max. (2) £400-600

687 A pair of Derby sweetmeat figures, c.1760-65, modelled as a man and woman each standing beside a rectangular lidded basket edged in gilt, before flowering bocage, the female figure restored, 20cm. (2) £200-300

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688 Two large Samson porcelain figure groups, late 19th century, one of Europa and the Bull after Chelsea-Derby, the other of Neptune after Frankenthal, each raised on a scrolled base with gilt detailing, some restoration, 32cm max. (2) £150-250

689 Three Derby figures, c.1765-1800, one of Minerva standing and leaning on her shield beside an owl, a Mansion House Dwarf wearing a large hat, and a figure of Old Father Time standing with one foot on a globe and holding an hourglass, some damages and amateur restorations, 27cm max. (3) £200-300

690 A near pair of Derby candlestick figures, c.1760-65, of a gallant and his companion, each standing beside flowering bocage supporting a pierced sconce and drip pan, raised on scrolling bases, small damages and restorations, 26cm. (2) £150-250

691 Two large Derby figures of Justice and Minerva, c.1760-65, Justice depicted with her eyes shut and holding a pair of scales in her left hand, Minerva wearing a plumed helmet and resting her left hand on the top of her shield, each raised on a scrolled base, some damages and restorations, 35cm max. (2) £200-300

692 A pair of Derby figures from the Four Quarters of the Globe series, c.1800, emblematic of America and Europe, the former with one foot on the back of an alligator, the latter holding a cornucopia of fruit, each raised on a low base respectively titled ‘Amerika’ and ‘Europa’, some damages and restoration, 21.4cm. (2) £300-500

693 A pair of Derby candlestick figures, c.1765, of a gallant and his companion holding flowers and fruit, each with one arm around a branch supporting a large candle sconce applied with flowers, 25cm. (2) £250-350

A series of adult models of the Four Quarters of the Globe was first created by J J Kändler at Meissen around 1745, and adapted a few years later by Meyer using children instead. Meyer’s series was copied at Chelsea, and it is likely that this Derby series derived from Chelsea rather than the German originals.

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Paper labels for Kitley House, no. 341. Kitley House is a Tudor manor house in south Devon which has, for several centuries, been in the Bastard family.

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694

695

696

694 A Derby figure of Europe, c.1760-65, from the Four Quarters of the Globe series, personified as a girl wearing a coronet and holding an orb in her right hand, the base scattered with attributes relating to the Arts and Science, some restoration, her sceptre lacking, 21.8cm. £300-400 A series of adult models of the Four Quarters of the Globe was first created by J J Kändler at Meissen around 1745, and adapted a few years later by Meyer using children instead. Meyer’s series was copied at Chelsea, and it is likely that the Derby series derives from Chelsea rather than the German originals.

695 A large Derby figure of Britannia, c.1760-65, resting one hand on her shield which in turn rests on the head of a lion, wearing a helmet and standing before flowering bocage, some restoration, 36cm. £200-300 696 A Derby figure of Cupid in Disguise as a moneylender, c.1765-70, holding a bag of coins aloft in his right hand and standing before flowering bocage, minor chips, 18.4cm. £100-200

697 Two pairs of Derby candlestick figures, c.1760-70, one of Mars and Venus with Cupid, the other of musical shepherds, all standing before flowering bocage and raised on scrolled bases picked out in gilt and turquoise, some damages, the sconces lacking, 21cm. (4) £300-500

698 Three English porcelain figures, c.1765-70, a Chelsea figure of a gardener holding a nest of birds, gold anchor mark, a Bow figure of a flower girl standing beside flowering bocage with an apron full of blooms, and a Bow figure of a New Dancer, raised on a footed base before flowering bocage, red anchor and dagger marks, some damages and restorations, 24cm max. (3) £200-300

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699 A Bow figure of Touch, c.1758, from the Senses series, modelled as a lady semi-reclining on a low stump, wearing a blue apron over a floral dress, with a dismal hound type dog at her side, a small amount of good restoration, 12.5cm high. £400-600 Paper label for Stockspring Antiques.

700 A Derby dry-edged figure emblematic of Taste, c.1752-55, probably modelled by André Planché, personified as a lady seated and holding an apple in her right hand, a basket of fruit resting under her left arm, delicately enamelled with famille rose flower sprays and a yellow bodice, some good restoration, 16cm. £1,000­1,200 Cf. Peter Bradshaw, 18th Century English Porcelain Figures, pl N, p 176.

701 A rare white-glazed Bow figure of Erato, c.1750-52, by the Muses Modeller, depicted seated with Cupid reaching for a bow resting across her lap, a wreath held in her right hand, the base applied with roses and a small quiver of arrows, small losses, 15.7cm. £800­1,200 Cf. Victoria and Albert Museum, Accession No. C.31-1959 for an identical example.

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702 A rare set of Derby figures from the Four Quarters of the Globe series, c.1760, emblematic of Europe, Africa, Asia and America, each with varying attributes of their Continent, raised on low bases applied with flowers and leaves, some damages and restorations, 25.5cm. (4) £1,500-2,000 A series of adult models of the Four Quarters of the Globe was first created by J J Kändler at Meissen around 1745, and adapted a few years later by Meyer using children instead. Meyer’s series was copied at Chelsea, and it is likely that this Derby series derives from Chelsea rather than the German originals.

703 A set of four Derby figures of the French Seasons, c.1770, modelled as children, emblematic of Winter, Spring, Summer and Autumn, each with various attributes depicting each season and raised on a pierced, scrolled base picked out in puce and gilt, some damages and repairs, 19cm max. (4) £600-800

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704 Three Bow figures from the Rustic Seasons, c.1755-60, depicting Spring, Summer and Autumn, variously modelled with flowers, corn sheaves and fruiting grapevine, some losses and repairs, 13.7cm max. (3) £750-850

705 Three Bow figures from the Rustic Seasons, c.1760-65, of Spring, Summer and Autumn, depicted with flowers, sheaves of corn and grapevine, raised on scrolled footed bases picked out in puce and blue, some restorations, 17.5cm max. (3) £750-850

706 A pair of Chelsea Derby candlestick figures, c.1770, modelled as children with aprons filled with flowers, standing on scroll bases before flowering bocage, each with a pierced sconce, and a Derby figure of a milkmaid, carrying a corked flask in her right hand, wearing a tied hat and standing on a grassy base applied with flowers, some restoration, 18cm max.

(3) £200-300

707 A pair of Stevenson and Hancock Derby candlestick figures, 2nd half 19th century, of Autumn and Winter, and an 18th century Derby Tithe Pig figure group, a couple offering a pig and a baby to a priest before flowering bocage, some damages, 30.5cm max. (3) £150-250

708 Four Derby figures of putti and children, c.1765-85, one of a young gardener holding a basket of flowers, another of a girl standing beside a sheep and flowering branches, a candlestick figure of Spring from the Infant Seasons, and another putto carrying a basket of flowers, damages and repairs, 17cm max. (4) £100-200

709 Three English porcelain figures, c.1760-70, one a Derby candlestick figure of Cupid kneeling before flowering bocage with a quiver of arrows, another a Bow candlestick figure of a putto reaching up to a bird in flowering branches, a dog beside him, the last a Bow figure of a New Dancer, raised on a scrolled base, red anchor and dagger marks to the Bow figures, some damages and restoration, 21cm max. (3) £150-250

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710

712

711

710 A Derby figure group, c.1775-85, emblematic of Music, modelled with a Classical maiden playing the flute with a recumbent putto at her feet holding the neck of a violin, raised on a rocky base applied with flowers, leaves and other musical instruments, incised No. 217, some small repairs, 25.5cm. £100-200 711 A Derby figure of Apollo, c.1760, standing amidst trophies of the Arts including books, a palette and sheet music, resting his right hand on top of a lyre, raised on a scrolled base picked out in green and gilt, small restorations, 20cm. £250-350 712 A Derby figure emblematic of Taste, c.1770, modelled as a young man seated on a rocky stump and eating from a bunch of grapes held in his right hand, his left hand resting on the head of a leopard or panther, some good restoration, 20cm. £200-300

713 A pair of Derby candlestick figures of Mars and Venus, c.1760-65, Venus chastising Cupid, Mars dressed as a Roman centurion, each standing before a trunk entwined with flowers and leaves, the sconces lacking, some losses, 20.5cm. (2) £100-200

714 A pair of Chelsea figures of a hunter and his companion, c.1758-65, he wearing a fur-lined coat and carrying a game bird with a dog at his feet, his companion with a long-barrelled gun, each standing before flowering bocage, some damages, 26.5cm (2) £400­600 Provenance: a private London collection.

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715 A Bow figure of Ceres, c.1758-60, emblematic of Earth from the Four Elements, standing before a recumbent lion, holding a large cornucopia of fruit and flowers and wearing a floral diadem, the low pad base applied with further flowers, 19.3cm. £400-600

716 A Bow figure of Flora, c.1755-58, standing beside a tall urn of flowers with flowering branches entwining around the base, Flora draped in a yellow robe with flowered lining, some restoration to her hands and the base, 24.2cm. £300-500

717 A Bow figure of Water, c.1756-58, from the Elements series, modelled as Neptune standing before a large dolphin and holding an upturned urn of flowing water in his left hand, wearing a patterned robe, the end of the dolphin’s tail lacking in the firing, 19.3cm. £400-600

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718 A rare Samuel Gilbody (Liverpool) set of figures of the Four Seasons, c.1756-60, each modelled as a putto with varying attributes, Spring with a basket of flowers, Summer a sheaf of corn, Autumn garlanded in grapes and Winter dressed in a fur-lined robe, raised on low pad bases, some small damages and restorations, 13cm max. (4) £2,500-3,500

719 A Plymouth figure of Autumn, c.1770, modelled as a putto standing on a tall scrolled base and holding a bunch of grapes and a small cup, wearing a grapevine diadem and with a basket of further fruits and gourds at his side, possibly later decorated, heavily peppered, 14.2cm. £400-600

720 A Samuel Gilbody (Liverpool) figure of Spring, c.1756-60, modelled as a putto carrying a basket of flowers and holding a single bloom in his right hand, draped in further flower garlands and a billowing robe, left in the white, 11.3cm. £600-1,000

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721 A pair of Derby candlestick figure groups of birds, c.1765, one modelled with two peacocks and a peahen, the other with a cockerel standing over two hens and some chicks, all before elaborate flowering bocage and pierced sconces, the scrolled bases picked out in puce and turquoise, some restoration to the bocage, the sconces plaster replacements, 26.5cm. (2) £250-350

722 A pair of Derby figures of a stag and doe, c.1760-65, reclining on low bases before flowering bocage, each with one fore hoof outstretched, some restoration, 19cm high. (2) £200­300

723 A pair of Derby-style models of the Florentine Boars, 19th/20th century, their coats decorated with pale rust patches, each raised on a low rocky base, damages, 13.7cm across. (2) £120-180

724 A near pair of Derby candlestick groups of buntings, c.1765, each modelled with a colourful bird perched among flowering branches with a smaller yellow bird below, some repairs, one sconce lacking, 24.2cm max. (2) £150-250

Provenance: Sotheby’s, 19th February 1991, lot 249.

725 A Bow white-glazed figure group of birds in branches, c.1755, modelled with two finches perched on gnarled branches applied with flowers, leaves and fruiting grapevine, a dog barking at the base of the tree, small losses, 15.8cm. £150­200 Cf. Peter Bradshaw, Bow Porcelain Figures, pl.67.

726 A rare Bow miniature figure of a gardener, c.1760-65, standing before flowering bocage atop a tall pierced base picked out in puce and blue, resting his right hand on the top of a spade, his left extended as if in greeting, 14cm. £200-300 725 182

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727 A Bow figure of a piping shepherd, c.1758-60, leaning on a tree stump beside him and playing the flageolet, his dog recumbent at his feet, some restoration to his hands and pipe, 15cm. £100-200

728 A Longton Hall figure of Winter, c.175860, from the Rustic Seasons, modelled as a bearded gentleman in fur-lined hat and lilac greatcoat, warming his hands before a flaming brazier, a few small chips, 11.5cm. £250-350

729 A Bow figure of a piper, c.1756-58, holding his bagpipes under his left arm, wearing a pink jacket over blue breeches, a ‘dismal hound’ reclined at his feet, some restoration, 14cm. £200-300

This figure was derived from Meissen and also produced at Chelsea around the same time as Longton Hall.

730 A Derby figure emblematic of Fire, c.1765-70, modelled as a figure standing beside a flaming urn and a small cannon before flowering bocage, raised on a pierced scrolled base picked out in turquoise and gilt, some good restoration, 23.2cm. £200-300

731 A Bow figure of a piper, c.1756-58, holding his bagpipes under his left arm, wearing a flowered jacket over yellow breeches, a ‘dismal hound’ seated at his feet, minor faults, 14.5cm. £300-400

732 A Bow figure of Ceres, c.1758, emblematic of Earth from the Four Elements, holding a cornucopia of flowers in her right hand, a lion resting at her feet, some faults, 19.2cm. £200­300 Cf. Peter Bradshaw, Bow Porcelain Figures, p.125.

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733 A garniture of three Bow vases and covers, c.1765, the central vase of baluster shape, flanked by two flared vases, painted with butterflies and moths in flight around applied flowering branches, the sides with female masks beneath petal frills, pierced to the necks and shoulder, the covers surmounted with yellow bird finials, some restoration, 28cm max. (6) £400-600

734 A pair of Longton Hall rococo-moulded vases and covers, c.175860, of asymmetrical form, painted in polychrome enamels with sprays of flowers around and within frilled scrolls, the covers modelled as a profusion of flowers including tulip, carnation and narcissus, small losses, 25cm. (4) £300-500

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735 A pair of Chelsea-Derby two-handled vases, c.1770, applied with clusters of small white flowers on a turquoise ground with raised tendrils, the shoulders applied with scroll handles picked out in gilt, possibly lacking covers, a section of one handle lacking, 18.3cm. (2) £150-250

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736 A Bow flower pot, c.1765, a profusion of flowers issuing from a banded pot painted with simplistic flower sprays, some small losses and repairs, 14cm. £350-450

737 A Chelsea-Derby vase, c.1770, the ovoid form supported by three female terms rising from lion paw feet, gilded with butterflies and applied with flowers on a mazarin blue ground, raised on a shaped base painted with landscape panels, double gold anchor mark, one handle repaired, the cover lacking, 23.5cm. £400-600 The shape was copied from a print in Joseph-Marie Vien’s Suite de Vases of 1760. The shape was made at Chelsea prior to its takeover by the Derby porcelain factory in 1770.

738 A Plymouth shell salt, c.1768-70, the large shell supported on a base of further smaller shells and coral, the interior painted with flowers, the base brightly enamelled, restored, 13cm across. £250­350 Cf. F Severne Mackenna, Cookworthy’s Plymouth and Bristol Porcelain, pl. 35, fig. 57.

739 A matched Bow white-glazed trio, c.1750-53, comprising a teabowl, coffee cup and saucer, each piece applied with three sprigs of flowering prunus, a short crack to the teabowl, a small rim chip to the cup, 11.2cm. (3) £100-200 The teabowl with a paper label for the Steele & Garnett Collection.

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740 A Worcester dessert dish, c.1770-80, of elaborate fluted form, brightly enamelled in the Brocade pattern, with sinuous dragons curling around trellis panels and prunus branches, with chrysanthemum mons on trellis panels, gilt crescent mark, 29.3cm. £200-300

741 A Worcester feather-moulded bowl, c.1765-70, printed and handcoloured with Chinese figures at various pursuits, and with a monkey on a flowering branch, the interior with four further figures, the interior worn, 20cm dia. £300-400

742 A Worcester cos lettuce sauceboat, c.1757, crisply moulded with overlapping leaves and delicately decorated with flower sprays in polychrome enamels, a large convolvulus spray to the interior, 18cm across. £150-250

743 A good Worcester bell-shaped mug, c.1758, painted in polychrome enamels with the Beckoning Chinaman pattern, the standing figure crooking his finger towards a bird in flight, the reverse with a bold floral spray, 10.2cm. £250-350

744 A small Lowestoft bowl, c.1780, painted in polychrome enamels with a Chinese lady seated at a table and taking tea, a further figure standing beside a bird in a tree, 10.1cm dia. £100-200

745 A pair of Derby dessert plates, c.1770-80, painted in an extended Imari palette with fruiting leafy branches, six character script marks, some wear and footrim chips, 22.8cm. (2) £100-200

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746 A Worcester teapot and cover, c.1770, painted with sprays of European flowers in polychrome enamels, and small scattered flower stems, 18.8cm across. (2) £250-350

747 A Worcester teapot and cover, c.1765, decorated in the Queen Charlotte pattern with spiralling Oriental flower sprays in the Imari palette, the cover with a floral knop, blue crescent mark, the cover possibly associated, 18.5cm. (2) £250-350

748 A Derby frill vase, c.1765, the flared form applied with flowers and leaves around two mask head handles, the rim pierced and applied with single flowerheads, and a Bow openwork basket of flowers, some damages, 15.3cm max. (2) £250-350

749 A Chelsea two-handled vase, c.1760, the flattened hexagonal form painted with exotic birds amidst leafy branches, gold anchor mark, and a Chelsea-Derby frill vase painted with fruit sprays above pierced frills in turquoise, the reticulated neck applied with flowers and leaves, some faults, the latter lacking its cover, 21.3cm max. (2) £400-600

750 A Worcester fluted ‘Fable’ dessert dish and a plate, c.1775-80, the dish of square form, each painted after Jefferyes Hammet O’Neale, the dish with an ox, a sheep and an elephant standing above a recumbent lion, the plate with three hounds attacking a stag in a woodland setting, 27.7cm max. (2) £200-300

751 A Worcester vase, c.1765, painted in the Kakiemon palette with mythical long-tailed birds and a dragon, reserved on a blue ground, square seal mark, and a saucer dish painted with colourful birds before foliage, within a formal gilt border on a wet blue ground, open crescent mark, 18.1cm. max. (2) £150-200

Provenance: the Robert and Celia Morris Collection. The plate formerly in the collection of Sir Peter Crossman of Tetworth Hall, Cambridgeshire.

This type of animal decoration was previously attributed Fidelle Duvivier but is now thought to be by a more amateur hand. The service mixes animal decoration with fables.

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752 A Worcester part dessert service, c.1765-70, the wells painted in a bright Kakiemon type palette with the Sir Joshua Reynolds pattern, a long-tailed Ho-Ho bird perched on turquoise holey rockwork before flowering branches, reserved on a wet blue ground with gilt foliate sprigs, blue square seal marks.

Comprising: a large circular dish, two kidney-shaped dishes, two lozenge dishes and ten plates. (15) £1,500-1,800

753 A Worcester saucer dish, c.1770, decorated with a version of the Hop Trellis pattern of vertical berried swags alternating with red and gilt trellis work beneath blue bands, 18.5cm. £250-350

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754 A Worcester teapot and cover, c.1765-75, painted in Kakiemon enamels with panels of flowering branches and banded hedges reserved within gilt scrolls on a blue scale ground, square seal mark, 19.7cm across.

(2) £300-400

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755 A Worcester footed dish or centrepiece from a dessert service, c.1770, of quatrefoil form, the well painted with an arrangement of Spotted Fruit within a wide gilt caillouté border on a wet blue ground, open crescent mark, the foot broken and restuck, 29.5cm. £200-300

756 Two Worcester cylindrical mugs, c.1770-80, one painted with a floral wreath encircling monogrammed initials ‘JSH’, the other with panels of flower swags within gilt scroll borders reserved on a blue scale ground, square seal mark to the latter, 12.7cm max. (2) £300-400

757 A Worcester teacup and saucer, c.1770, probably painted in the Giles atelier with floral garlands reserved within sea green panels, blue crossed swords and 9 mark to the saucer, and a Worcester square dish painted in the Marchioness of Huntley pattern with spiralling flower sprays within an apple green border, 27.2cm max. (3) £400-600

758 A pair of Worcester dessert plates, c.1770, the wells painted with polychrome sprays of rose and heartsease within three further arrangements of flowers in purple monochrome, the scallop-edged rims with a gilt oval design on a blue band, open crescent marks, 21.8cm. (2) £100-200

759 Two Worcester scallop-edged plates, c.1760-80, one painted with flower sprigs in dry blue, the other with panels of colourful birds and flying insects reserved on a blue scale ground, and a Worcester coffee cup and saucer painted with a fan panelled design of flowers on a wet blue ground, the saucer broken and restuck, the blue scale plate cracked, 20.8cm. (4) £120-180

760 A Worcester fluted slop bowl, c.1770, painted with purple flower swags suspended from a pink oeil de perdrix border, a Worcester saucer decorated with a Hop Trellis pattern, and a Bristol octofoil plate painted with flowers within a ribbon border, blue X mark, some damages, 20.3cm max. (3) £100-150 189

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761 Three Worcester dishes, c.1765-70, two of lozenge shape and painted with panels of flowers reserved on a blue scale ground, the other square and painted with a central flower arrangement, script W marks, and an unusual Bow plate in the Worcester manner with a floral arrangement within a formal gilt border on a wet blue ground, 30cm max. (4) £300-500

762 Three Worcester teapots and covers, c.177080, one painted in underglaze blue with the Waiting Chinaman pattern then later highlighted in red and green, another printed and coloured with Chinese figures in an interior scene, script W marks, the last painted with a small arrangement of flowers, one cover restored, 18cm across. (6) £200­300 Provenance: the floral teapot from the Raymond Dennis Collection.

763 A pair of Worcester coffee cups and saucers, c.1780-90, painted with flowering branches issuing from rockwork in bright green and gilt, and a blue and white teabowl and saucer painted with the Cannon Ball pattern, 22.5cm max. (6) £100-200

764 Three Chelsea botanical plates, c.1758-60, with Hans Sloane type decoration of single botanical specimens within moths and other colourful insects, with feather-moulded rims picked out in turquoise and brown, brown anchor marks, and a similar plate with small flower sprig decoration, some damages, 21.4cm. (4) £500-800

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765 An unusual Worcester fluted coffee cup and saucer, c.1770, brightly enamelled in a version of the Scarlet Japan pattern with flowering branches around a flower mon or sunburst, alternating with bands of rich orange with gilt trellis designs, 13.4cm. (2) £350-450

766 A Chelsea octagonal teabowl and saucer, c.1758-60, painted in the Meissen manner with small flower sprays, moths and flying insects, brown line rims, brown anchor mark to the saucer, 14.5cm. (2) £450-550

767 An early Worcester pickle or sweetmeat dish, c.1753-54, of scallop shell form, painted in Kakiemon enamels with a Ho-Ho bird in flight above bamboo and flowering branches issuing from banded hedges, 13.4cm. £400­600

768 A good Bow white-glazed two-handled cup, c.1754-55, the Ushaped form crisply moulded with two sprigs of flowering prunus between moulded handles, 6.8cm. £100-200

Cf. John Sandon, Dictionary of Worcester Porcelain, p. 50 for a similar but smaller example.

769 A Chelsea dish, c.1755-58, moulded and decorated with fruiting grapevine, the well painted with colourful moths and a spray of cherries, and a Chelsea milk jug painted with flower sprays and applied with a twig handle, red anchor mark, the jug heavily restored, 20.7cm max. (2) £200-300

770 A Chelsea dessert plate, c.1760, painted ith a polychrome flower spray to the well within a shaped square blue and while panel, the spiralmoulded rim and cavetto with flower garlands, 21.2cm. £100-200

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771 A Richard Chaffers (Liverpool) coffee pot and cover, c.1758-60, painted in famille rose enamels with bamboo and flowering chrysanthemum issuing from holey rootwork beside an ornamental fence, raised on a circular foot, some restoration to the edge of the cover, 24cm. (2) £400-600

772 A Chelsea-Derby coffee pot and cover, c.1765-70, the fluted form delicately painted with flower sprays and small scattered stems, some chipping to the foot, 26.3cm. (2) £300-500

773 A Derby coffee pot and cover, c.1765-70, the baluster form painted in famille rose enamels with flowering Oriental branches issuing from rockwork, the cover with a floral finial, 24.3cm. (2) £300-400

774 A Bristol mask jug, c.1773-75, painted with small bouquets of European flowers and single scattered sprigs, the spout modelled as the head of a bearded man, the neck with a puce and green garland border, a small chip to the spout, 18cm. £500-700

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Paper label for the Varnum Collection, no. 31.

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775 A Liverpool porcelain three vase garniture, c.1756-58, probably Richard Chaffers, including one baluster vase and two flared sleeve vases, all finely painted with a large bouquet of flowers including rose, dahlia, convolvulus, auricula and tulip, with scattered insects and a large grasshopper, with brown scalloped decoration to the rims, 24cm max. (3) £600­800 Cf. Maurice Hillis, Liverpool Porcelain, p.213, fig. 5.177 for a vase with similar decoration.

776 A Worcester cream jug, c.1760, of low Chelsea ewer shape, moulded and decorated with a band of acanthus leaves, painted with polychrome flower sprays, the interior rim with a puce scroll band, a small rim fault, 11cm across. £100-200

777 A rare Worcester butter cooler, c.1756-58, the oval form raised on four scroll feet and painted with small flower sprays between pink glazed raised bands, the whole evenly pierced with small holes, 14.2cm. £500-700 Cf. Bonhams, The Zorensky Collection Part III, 22nd February 2006, lot 31 for a similar example.

Butter coolers were designed to allow condensation to drain from the butter, which formed owing to the change in temperature when it was brought into the dining room from the scullery.

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778 A Chelsea plate and a soup plate, c.1755, moulded in the Meissen Gotzkowsky manner with a central garland of flowers to the well, the panelled rims with further flower sprays, delicately painted with small scattered flower sprigs, brown line rims, 24.3cm. (2) £400-600

779 A pair of French porcelain white-glazed octagonal soup plates, in the Chelsea manner, mid 18th century, the rims sprigged with prunus sprays and small sprigs, 23.5cm. (2) £300-400

780 A Chelsea dessert dish, c.1760, the oval formed with lobed rim, painted to the well with a spray of fruit, the rim with four panels of exotic birds among leafy branches, flanked by gilt moths on a dark blue ground, gold anchor mark, some good restoration to the rim, 29cm. £200-300

781 A Worcester small bowl, c.1756-58, with spiral moulding beneath an osier border, the exterior finely painted with sprays of flowers, the interior with a single turnip, and a Worcester sparrowbeak jug painted with floral arrangements, a repair to the bowl, 12cm max. (2) £100-200

782 A Longton Hall leaf dish, c.1755-60, the overlapping leaves painted in the Kakiemon palette with the Two Quail pattern, a rare Worcester blue and white slop bowl painted with the Two Quail pattern, open crescent mark, two Liverpool coffee cups, one enamelled with birds and lotus, the other in underglaze blue with a bird perched on a flowering branch. and a Worcester blue and white teabowl, moulded with a band of chrysanthemum, some faults, 22.5cm max. (5) £300-500

783 A pair of Chelsea leaf dishes, c.1755, each formed as a large cos leaf painted with a spray of flowers over puce veins, red anchor marks, a Chelsea plate painted with panels of birds within leaf scrolls on a blue ground, gold anchor mark, and a Derby dish decorated with an Imari design, pseudo Chinese script mark, the leaf dishes restored, 23.8cm max. (4) £250-350

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784 A Bow white-glazed shell salt, c.1755, formed as a large shell resting on a base of further small shells, coral and seaweed, a few small rim chips, 12cm across. £400-600

785 A Worcester punch bowl, c.1770-75, the exterior printed in black with a continuous scene of the The Fox Hunt after a painting by James Seymour, the interior rim with six flower sprays, some wear, 20.8cm. £350­450 Cf. Simon Spero, 18th Century English Transfer-Printed Porcelain and Enamels from the Joseph M. Handley Collection, p.104-105 for a similar example.

786 A massive Worcester punchbowl, c.1770, printed in purple monochrome with four scenes of figures before and among Classical ruins, the interior rim with eight varying sprays of flowers and fruit, traces of a further landscape print to the interior, gilt rim, some wear, a few small rim chips, 28cm dia. £300-500

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787 A Worcester coffee cup and saucer, c.1765, printed in black with the Milkmaids pattern, and a Pennington’s (Liverpool) coffee can printed with La Cascade and Serenade, depicting figures in garden settings, 12.2cm max.

(3) £150­250 Provenance: the cup and saucer from the Raymond Dennis collection; the coffee can from the Donald Tryhorn collection.

788 A Worcester leaf dish, c.1755-58, pencilled in purple with the Two Storey House pattern, two Chinese figures in discussion beneath a spreading tree and a tall house surrounded by an ornamental fence, the rim with a formal foliate border, some restoration to the rim, 26.4cm. £200­300 Provenance: the Robert and Celia Morris Collection.

789 Two Worcester saucers, c.1753-58, one of Smoky Primitive type, printed with La Cascade with a couple walking in a garden beside a fountain, the other printed in black with The Tomtits, three birds perched on branches, some damages, 12.3cm max. (2) £100-200

790 A Worcester two-handled sauceboat, c.1755, the exterior printed in black with four vignettes of Man’o’ War ships within moulded leaf panels, the interior with a river scene of swans and other aquatic birds, a rim crack, 18.5cm across. £100­200

Although The Tomtits was engraved by Robert Hancock and features in the Ladies Amusement, it is more commonly found on Bow porcelain than Worcester.

791 Two Worcester printed mugs, c.1757-65, one bell-shaped and printed with The Whitton Anglers, the reverse with La Diseuse d’Aventure after a Watteau painting of the same name, the smaller cylindrical mug printed with the King of Prussia and motifs of victory, signed RH in the print and with an anchor rebus, cracks to both, 12cm max. (2) £150-250 The print for the Whitton Anglers was taken from an engraving of A View of the Canal and of the Gothic Tower in the Garden of His Grace the Duke of Argyll at Whitton by William Wollett.

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Provenance: the Robert and Celia Morris Collection.

792 A Worcester cylindrical mug, c.1760-62, printed in black from a design by Robert Hancock with the arms of the Grand Lodge and the motto ‘Amor Honor Et Justitia Sit Lux Et Lux Fuit’ amidst Masonic emblems, with three figures to the left, the whole flanked by obelisks, 12cm. £300-500 Paper label for the J A Harrison Collection.

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793 A large Worcester Masonic printed mug, c.1765-70, printed in black

by James Ross with the arms of the Grand Lodge of England and other masonic emblems, three figures to one side, the whole flanked by two brick obelisks surmounted by globes, grooved strap handle, 15cm. £800­1,200 Cf. The Joseph M Handley Collection, 18th Century English Transfer-Printed Porcelain and Enamels, p.191. James Ross was apprenticed to Robert Hancock in 1765 and the copper plate for this print, signed by him, is in the Dyson Perrins Museum.

794 A large Worcester bell-shaped mug, c.1765, printed in black with the Whitton Anglers, with two ladies fishing by an ornamental lake, the reverse with L’Amour showing a couple courting in a garden setting, 15.2cm. £300-400 The Whitton Anglers is taken from a small detail of an engraving by William Woollett showing the garden of the Duke of Argyll’s home at Whitton in Middlesex.

795 A Worcester black printed mug, c.1760-65, by Robert Hancock, one side printed with Rural Lovers, a milkmaid and her companion leaning against a tree while the cows look on contentedly, the reverse with a Milking Scene, the same milkmaid at her duty while her companion watches, 15.2cm. £150-250 The Rural Lovers print is taken from a 1760 Francis Vivares print after Gainsborough, the Milking Scene from a small section of a Luke Sullivan print.

Paper label for Simon Spero.

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796 A Worcester blue and white junket dish, c.1760-70, painted with the Junket Dish Florals pattern with panels of a cell diaper border, open crescent mark, a small chip to the footrim, 24.2cm. £100-200

797 A rare and early Worcester blue and white junket dish, c.1758, moulded with basket weave reserving three landscape panels in the Neighbours pattern, the shaped rim with flowers and moths, workman’s mark, 22.7cm. £500-800 Provenance: the John Williams Collection.

Illustrated: Branyan, French and Sandon, Worcester Blue and White Porcelain, no. I.B.23A, where it is listed as the only known example.

798 A Worcester blue and white leaf dish, c.1760, decorated with the Gillyflower pattern, a central spray within smaller scattered sprigs, hatched crescent mark, 23.7cm. £250-350

799 A Worcester blue and white junket dish, c.1770, decorated with floral sprays within shell moulded panels, painted crescent mark, 24.5cm. £100-200

800 Literature: British Delft at Williamsburg, John C. Austin; Pratt Ware, J & G Lewis; The Collector’s History of British Porcelain; John and Margaret Cushion; 13 other books and a number of catalogues relating to British ceramics. (A lot) £50-100

801 Literature: Porcelain for Palaces, Ayes, Impey and Mallet; The Dictionary of Worcester Porcelain, John Sandon; Coalport, Michael Messenger; British Porcelain, Geoffrey A. Godden; and ten other volumes relating to English ceramics. (14) £50-100

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802 A Worcester blue and white basket and stand, c.1775, printed with the Pinecone pattern, the basket formed of interlocking circles applied with flowerheads, hatched crescent marks, 24.6cm. (2) £100-200

803 A large Worcester blue and white mug, c.1765-70, printed with the Parrot Pecking Fruit pattern, near the handle with a large spray of currants above a beetle, hatched crescent mark, 15.5cm. £100-150

802

803

804 A pair of Worcester blue and white soup plates and a mask jug, c.1770-80, the plates printed with the Pinecone pattern, the jug moulded with overlapping cabbage leaves and printed with flower sprays, hatched crescent marks, 22.5cm max. (3) £150-250

805 A Worcester blue and white teapot and cover, c.1785, printed with the Birds on Branches pattern, hatched crescent mark, and a small Worcester mug printed with the Parrot Pecking Fruit pattern, script W mark, 19.3cm max. (3) £150-250

806 A small group of Worcester blue and white porcelain, c.1760-90, including a small coffee pot painted with the Mansfield pattern, feathermoulded punch bowl, an oval buttertub printed with the Three Flowers pattern, and a dessert plate decorated with the Royal Lily pattern, together with a James Pennington (Liverpool) moulded sauceboat printed with fruit sprays, some damages, the coffee pot’s cover lacking, 21cm max. (5) £150-250

806A A Worcester blue and white teapot and a teabowl and saucer, c.1775, the teapot printed with the Mother and Child with Man Fishing pattern, the teabowl and saucer with the Three Flowers pattern, hatched crescent marks, the teapot’s cover lacking, some nibbling to the spout, 17.8cm max. (3) £100-150 199

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807

808 807 Two Worcester blue and white asparagus servers, c.1770-80, one decorated with the Royal Lily pattern, the other with the Fisherman and Cormorant pattern, a Worcester pickle dish painted in the Pickle Leaf Vine pattern, and two Derby leaf-shaped pickle dishes painted with grapevine and flower sprays, some faults, 9cm max. (5) £100-200 808 Three Bow blue and pickle dishes, c.1760, of leaf shape, painted with a large spray of fruiting grapevine within a serrated rim, some rim nibbles, a small restored section to one, 11cm max. (3) £100-200 809 Four Caughley blue and white pickle dishes, c.1770-85, three of vine leaf shape and one scallop shell, a pair of Caughley asparagus servers and a strainer, all printed with the Fisherman and Cormorant pattern within cell diaper borders, various marks, some faults, 10.8cm max. (7) £100-200 810 Two Bow blue and white pickle dishes, c.1760-65, of vine leaf shape, the smaller painted with fruiting grapevine, the larger with a single bunch of grapes on a blue ground, 11.1cm max. (2) £150-250 The smaller with a paper label for Klaber & Klaber.

811 A rare Bristol blue and white pickle dish, c.1772, of leaf shape, painted with a central flower spray and small scattered leaf sprigs, the serrated rim edged in blue, blue X mark to the underside, a few tiny chips, 11.5cm. £300­400

809

200

810

Provenance: the collection of David & Jan Birley.

811

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812 A rare Bow blue and white pickle dish, c.1755-58, of early leaf shape, painted with a small willow tree on sloping rocks with small birds in flight above, the underside moulded with veining, 10.5cm across. £500-700 Provenance: the collection of David & Jan Birley.

813 A Vauxhall blue and white pickle leaf dish, c.1755-58, the small deep leaf shape with serrated edge, indistinctly painted with a moth amidst heavy leaf veining, the veining moulded to the underside, raised on three peg feet, 8.6cm. £300­400

Exhibited: Simon Spero Exhibition, 2008, no. 42.

Provenance: the collection of David & Jan Birley.

814 A Pennington’s (Liverpool) miniature blue and white coffee cup and saucer, c.1775, painted with a low hut beneath a gnarled tree and rockwork within a jagged blue border, restoration to the cup’s handle and a 2cm section of the saucer, 8.8cm. (2) £100-200

815 A small Plymouth blue and white sauceboat, c.1768-70, the rococo moulded form painted with panels of sunflower like blooms, a cell diaper band to the inside of the spout, alchemical tin mark to the base, a repair to the spout, 13.3cm. £250-350

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816 A Bow miniature blue and white coffee cup and saucer, c.1760, the small forms naively painted with fruiting grapevine, 7.7cm. (2) £100-200 The cup with a paper label for Albert Amor Ltd.

818 A rare New Hall blue and white knife and fork, c.1782-90, with pistol shaped handles, painted with formal foliate sprays and a band of stiff jagged leaves, 19.3cm max. (2) £150­250 Cf. P Brown. British Cutlery, p.136.

817 An early Worcester blue and white pickle dish, c.1755-60, the simple leaf shape painted with the Two-Peony Rock Bird pattern, the eponymous flowers flanking holey rockwork on which the bird perches, with moulded veins to the underside, workman’s mark, a small chip and crack to the rim, 10.5cm. £80-120

819 Three Worcester blue and white asparagus servers, c.1775-85, two printed with the Fisherman pattern, with pseudo Chinese marks, the third painted with Fruit Sprays, open crescent mark, a small section of the latter broken and restuck, 7.8cm max. (3) £100-200

Provenance: the collection of David & Jan Birley.

820 Two pairs of Derby blue and white asparagus servers, c.1780-90, one pair decorated with tall trees beside a two-storeyed pagoda beneath a cell diaper band, the smaller pair with small floral sprigs, some chipping, 8.4cm max. (4) £150-250

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821 A documentary Richard Chaffers (Liverpool) blue and white teabowl and saucer, dated 1764, painted with a bird perched on a flowering peony branch within a trellis border, the reverse of the teabowl inscribed ‘Mary Touchet’, the underside of the saucer with the same name and the date 1764, 12.4cm. (2) £1,000-1,500 Paper label for the Davies Collection, no. 297.

822 A good Worcester blue and white teabowl and saucer, c.1754-56, the teabowl of exceptionally fine porcelain, painted with the Cormorant pattern, the bird perched on rocks beside flowering peony branches, a small fisherman in the distance, differing workman’s marks, 12cm. (2) £300-500

823 A Worcester blue and white coffee cup and saucer, c.1755-58, painted with the Gazebo pattern, a small hut protruding from crossed rocks, a figure in a boat to the foreground, workman’s marks, 11.7cm. (2) £250-350 The coffee cup with a paper label for the A R Hobbs Collection.

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824 A Worcester blue and white part tea or coffee service, c.1770-80, printed with the Three Flowers pattern, hatched crescent marks.

Comprising: a coffee pot and cover, a sucrier and cover, a milk jug, a slop bowl, four teabowls and four saucers. (14) £200-300

825 A small group of Worcester blue and white tea wares, c.1760-75, including a sucrier and cover, a saucer and a teapot printed with the Three Flowers pattern, the teapot with an associated cover printed with the Fence pattern, a slop bowl and a teabowl and saucer painted with the Mansfield pattern, hatched and open crescent marks, 18cm max. (8) £150-250

826 Nine Worcester and Caughley blue and white coffee cups, c.177090, variously decorated with the Fruit Sprays, Prunus Root, Gillyflower, Fisherman, Fence, Cannonball and Late Floral Bouquet patterns, two miniature Caughley teabowls in the Island pattern, a Hollow Rock Lily teabowl, a Fence pattern saucer and a hexagonal Worcester teapot stand in the Fisherman pattern, various marks, 15cm max. (14) £150-250

827 Four Worcester blue and white milk jugs, c.1770-85, variously decorated in the Mansfield, Fence, Three Flower and Floral Bouquet patterns, a Caughley jug in the Three Flowers pattern, two Worcester mugs in the Plantation pattern, a sugar bowl in the Mother and Child pattern and a two-handled chocolate cup, various marks, some faults, 12cm max. (9) £100-200

828 Six Worcester blue and white teabowls and saucers, c.1760-80, three moulded with a band of narrow ribbing, two painted with the Mansfield pattern, the last printed with the Fisherman and Cormorant pattern, open and hatched crescent marks, 12.8cm max. (12) £100-120

829 Seven Worcester blue and white dishes, c.1770-80, including a pair of shell-shaped dishes and a lozenge-shaped dish printed with the Gillyflower pattern, a large plate, a soup bowl, a small scallop-edged plate and a shallow basket printed in the Pinecone pattern, and a small Caughley plate in the same design, 24.2cm max. (8) £150-250

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830 A massive Barr Worcester charger or meat dish, c.1800, the shaped form decorated with an unfinished version of the Queen Charlotte pattern, with spiralling panels of white flowers on a blue ground, incised B and 22 to the underside, 57.5cm. £300-500

831 A Derby blue and white chestnut basket and cover, c.1765, of circular form, painted to the interior with a pagoda landscape, the rim with a lambrequin border, the exterior moulded with latticework and applied with flowering branches, a firing crack to the base, 19cm dia. (2) £500-700

832 A Worcester blue and white dish, c.1775, the lozenge shape painted with the Rubber Tree Plant pattern, pseudo Chinese script mark, and a Worcester mug decorated with the Rose and Grape sprays pattern, crescent mark, 26.7cm max. (2) £150-250

833 A Worcester blue and white fluted sauceboat, c.1775-80, painted with the Full Moon pattern, open crescent mark, and a Derby creamboat of similar form painted to the interior with a Chinese figure crossing a bridge, the exteriors with formal trellis borders, 20cm max. (2) £100-200

834 Three Worcester blue and white sauceboats, c.1765-75, in two sizes, moulded and painted with the Strap Flute Floral Sauceboat pattern, open crescent marks, 20cm max. (3) £100-200

835 A small pair of Bow blue and white octagonal plates, c.1760, each with a central roundel of a figure in a boat in a Chinese landscape, with further fan-shaped landscape panels reserved on a powder blue ground, with some later enamelling in green and red, script marks, a small rim chip to each, 18.2cm. (2) £100-150 205

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836 A rare Bow blue and white bowl, dated 1772, the shallow sides painted with a detailed landscape scene with figures conversing on bridges and beside pagodas, the interior with a figure fishing from an island within an ornate formal border, beneath the foot inscribed ‘I*S. 1772’, rim crack, 15.4cm dia. £1,000-1,500

837 A Longton Hall blue and white cos lettuce sauceboat, c.1755, formed of overlapping leaves, painted with a Chinese pagoda landscape, the interior with a flower spray, the handle formed of a gnarled branch issuing small gourds and flowers, two small footrim chips, 18cm across. £300-500

838 A Richard Chaffers (Liverpool) blue and white coffee can or small mug, c.1758-60, the narrow cylindrical form painted with a variety of trees in a Chinese landscape, the reverse with a small hut on an island before cannon ball rocks, a small chip inside the rim, 6.2cm. £150­250 Provenance: the Wildish Collection. Formerly the Gilbert Bradley Collection.

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839 A rare Longton Hall blue and white saucer, c.1754-58, with an unusual deep trembleuse well, the concave rim painted with the Folly pattern of an obelisk beside bulrushes in a country landscape, a small chip to the footrim, 13.7cm dia. £1,000­1,500 Provenance: the collection of David & Jan Birley. Formerly the Bernard Watney Collection.

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840 A James Pennington (Liverpool) blue and white sauceboat, c.176570, moulded with rococo scroll panels containing painted pagoda landscapes, the interior with simple floral sprays and a trellis border, cracked, 17.8cm. £150-250

841 A Pennington (Liverpool) blue and white sauceboat, c.1770, the fluted form moulded with rococo scrolls, the exterior painted with simple flower sprays, the interior with solid blue decoration intended for overglaze enamelling, a rim crack, 14.5cm. £200-300

Provenance: Bernard Watney Collection.

Provenance: the Watney Collection; the Crane Collection.

Exhibited: Phillips, 1997, Liverpool Exhibition, No. 3/108. English Ceramic Circle Exhibition, 2006, no.48.

Illustrated: Nicholas Panes, British Porcelain Sauceboats, fig. 339.

842 A Richard Chaffers (Liverpool) Imari sauceboat, c.1757-59, the generous form moulded with rococo scrolls and a shell motif to the spout, decorated in red and gilt over underglaze blue with bamboo and Oriental flowers beside an ornamental fence, the interior rim with flower panels reserved on a red trellis border, 18cm. £250-350

843 A large Worcester blue and white fluted sauceboat, c.1755-60, painted with the Fringed Tree pattern, a figure fishing beside a bridge spanning small islands, the interior with a tree beside a small pagoda, with angular handle, workman’s mark beneath the handle, 22cm across. £500-600

844 A small Bristol blue and white creamer, c.1775, the finely potted shallow shape moulded to two sides with differing panels of fruit, beneath the spout painted with a formal floral design, 11cm across. £150-250

845 A large and rare Worcester blue and white fluted sauceboat, c.1765, painted with the Mission Church pattern, one side with an arched bridge beside a pagoda, the reverse with a figure in a boat beside an island, open crescent mark, 21.7cm. £400­600

208

Cf. Branyan, French and Sandon, Worcester Blue and White Porcelain 17511790, I.B.6.

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846 A large English porcelain blue and white sauceboat, c.1770-80, attributed to Wirksworth, painted to each side with differing Chinese riverscapes, the interior with a floral arrangement and three sprays to the rim, the exterior rim moulded with basketweave, 19.7cm. £600-800 Provenance: the Bernard Watney Collection; the Godden Reference Collection.

Illustrated: Geoffrey A Godden, English Blue and White Porcelain, pp.548-549, where the author describes the sauceboat as a “problem” and attributes it to Wirksworth or perhaps Church Gresley. A paper label to the underside states “still a tease”.

Exhibited: English Ceramic Circle Exhibition, 2006, no. 80.

847 A Worcester blue and white two-handled sauceboat, c.1755-60, painted with the Two-Handled Sauceboat pattern, the interior with a figure in a boat beside a two-storey pagoda, the moulded exterior with four small vignettes of further figures, birds and flowers, workman’s mark, 19.3cm across. £350-450

848 A rare Richard Chaffers (Liverpool) tureen with cover and stand, c.1760-65, the quatrefoil form in imitation of Derby and Bow, the tureen and stand painted with a timbered pagoda beneath a variety of trees in a Chinese landscape, within sprays of peony and other flowering branches, the flowers echoed to the cover, surmounted by a fruit knop, with cell diaper borders, 22cm. (3) £800-1,200 Exhibited: Simon Spero, 2006.

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849 A large Bow blue and white sweetmeat or pickle stand, c.1750, modelled with three large clam shells raised around and above rockwork encrusted with small shells, coral and seaweed, the clam shell rims and ridges with a formal foliate design, some chips and losses to the rim, 24cm wide. £150-250

850 A Bow blue and white tiered pickle or sweetmeat stand, c.1760, formed as three joined scallop shells, a circular dish rising from a central pillar applied with further small shells, each decorated with a pagoda landscape pattern within cell diaper borders, raised on three peg feet, 13.5cm high. £300-500

851 A good pair of Worcester blue and white wall pockets, c.1755-58, of spiral-moulded cornucopia form, painted with the Cornucopia Floral pattern of flowering prunus branches, the rims moulded with an ovolu design, workmen’s marks, 22cm. (2) £400-600

852 A large Bow blue and white mug, c.1755-58, the baluster shape painted with the Dragon pattern, a single sinuous beast encircling the body amidst stylized cloud scrolls, further cloud motifs to the inside rim, a grooved strap handle, workman’s number 12 to the base, some chipping, an extended firing crack, 15.5cm high. £100-200

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853 A Richard Chaffers (Liverpool) hexagonal flared blue and white beaker, c.1760, painted with the Jumping Boy pattern of a young Chinese boy in a garden beside a maiden seated beneath a tree, four character script mark, 6.3cm. £200-300

854 A William Reid (Liverpool) blue and white coffee cup, c.1755, moulded with a diaper design enclosing panels painted with small flower sprigs, the shaped rim with a formal border, 6.3cm. £150­250

855 A Worcester blue and white coffee cup, c.1760, painted with the Dragon painted, the eponymous beast chasing a large flaming pearl, its tail curling over the rim, workman’s mark, 5.8cm. £100-200

856 A Bow blue and white coffee cup, c.1760, the squat form painted with the Golfer and Caddy pattern, the interior rim with a thick wavy border, numeral 6 or 9 mark to the base, 5.5cm. £100-150

857 A Lowestoft blue and white coffee cup, c.1765, painted with a rare pattern of willow trees over low pagodas in an island landscape, painter’s numbers 3 and 7 to the foot, 6.3cm. £150-250

858 A William Reid blue and white coffee cup, c.1755, the slightly flared straight-sided form moulded with a diaper design enclosing small panels painted with stylized floral sprays, 7.5cm. £150-250

Provenance: the collection of David & Jan Birley.

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859 A Lowestoft teabowl and saucer, c.1775-80, painted in the Imari palette with a Chinese island landscape, and a blue and white coffee cup painted with a branch of flowering peony, 12.8cm max. (3) £100-200

860 A Richard Chaffers (Liverpool) teabowl and saucer, c.1760, painted in underglaze blue with a Chinese pagoda island landscape, with later polychrome enamelling in red, green and yellow, 12cm. (2) £100-200

861 A Bow blue and white creamer, c.1760, the ribbed body painted with the Desirable Residence pattern, the interior with tied scrolls, and a Liverpool creamer of low Chelsea ewer form, painted with low huts in a Chinese landscape, clobbered in red and gilt, minor faults, 12.1cm across.

(2) £100-200

862 A Lowestoft blue and white milk jug and a creamboat, c.1770, the milk jug painted with pagodas in an island landscape beneath a wide border, the creamer moulded with leaves and painted with flowering branches, a small chip to the creamer, 10cm max. (2) £150-250

863 A pair of Bow blue and white plates, c.1750-55, painted with the Broken Scroll pattern, the scroll depicting flowering peony and holey rockwork, within a formal panelled border, painted numbers 15 and 16 to the bases, 20.3cm. (2) £250­350

864 A Worcester blue and white coffee cup and saucer, c.1760, the scallop-edged forms painted with the Peony pattern, and a teabowl and saucer printed with the Three Flowers pattern, open and hatched crescent marks, 12.8cm max. (4) £150-250

This pattern was directly copied from a Chinese porcelain original, and was copied in turn by producers of delftware in Ireland. Cf. Peter Francis, Irish Delftware, pl.12 and pp.105-106 for a discussion on the influence of Bow porcelain on Dublin delftware.

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865 A Derby blue and white plate, c.1765-70, decorated with a patterned censer of Oriental flowers including peony and chrysanthemum, within a shaped formal border, 20.5cm. £250-300

866 A Caughley blue and white plate, c.1780, painted in a bright blue with the Bridge and Windmill pattern, blue S mark, broken and restuck, 23.2cm. £150­200

Paper labels for the Watney Collection and the Norman Lippitt collection, no.

45.

Provenance: the collection of David & Jan Birley.

867 A Bow blue and white plate, c.1760, painted with a Fan Panelled landscape design, the well with a figure in a boat in a Chinese landscape, the rim with shaped panels of landscape vignettes and flowers reserved on a powder blue ground, within a piecrust rim, pseudo Chinese script mark, 22.4cm. £100-200

868 A Worcester blue and white teapot and cover, c.1755-60, the squat globular body painted with the Mansfield pattern, workman’s mark to the inside footrim, 17cm across. (2) £250-350

869 Two English porcelain blue and white sauce tureens and covers, c.1765, of quatrefoil form, one Bow and painted with fan panels of Chinese landscapes on a powder blue ground, the other Derby and painted with pagoda landscapes and flower sprays within a cell diaper border, each with a fruit knop, 16.5cm max. (4) £500-700

870 A rare Worcester blue and white potting pot, c.1756-60, the generous circular form painted with the Mansfield pattern, the slightly bulbous rim with a formal border, the interior with a single floral sprig, workman’s mark, 15.7cm dia. £300-400 213

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871 A rare Worcester blue and white chamber pot, c.1770, the rounded body printed with the Bouquets pattern of floral sprays and scattered sprigs, the curved rim with a cell diaper border, the interior with the Primula print, hatched crescent mark, 23cm across. £300­500 Provenance: the Zorensky Collection, Y.747. Formerly the Peter Merry (Bridge House) collection, sold Bonhams, 26th May 1993, lot 320.

872 A Worcester blue and white coffee pot and cover, c.1760, the baluster form painted with the Mansfield pattern, the dome cover with a floral knop, workman’s mark, a chip to the knop and spout, 22.5cm. (2) £250-350

873 A Liverpool blue and white bowl, c.1765-75, painted with a large fringed tree behind holey rockwork, beside a small hut beneath towering rocks, the interior with two figures in a sail boat within a trellis border, cracked, 19.8cm dia. £150­250 Provenance: the collection of David & Jan Birley.

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874

875

874 A Vauxhall blue and white bowl, c.1755-60, painted with a Chinese figure fishing from a sampan in a continuous landscape scene with a low hut and a small bridge on a rocky island, the interior with branches growing from rockwork, two footrim chips, 12.4cm. £200-300 875 A Lowestoft blue and white butterboat, c.1775, of leaf shape, painted to the interior with small huts in an island landscape with a double trellis border, a tiny chip to the rim, 7.2cm. £100-200 876 A rare Worcester blue and white teabowl, c.1758-60, painted with the Heron on a Floral Spray pattern with a single bird standing on one leg atop a large lotus leaf and flanked by flowering branches, within a blue scroll and flowerhead border, workmen’s mark, a large chip to the footrim, 7.2cm. £100-200 877 A documentary Worcester blue and white mug, c.1780, the tall cylindrical form painted with the Rock Strata pattern and inscribed with the name ‘Jno Griffith’, a hatched trellis border to the inside rim, open crescent mark, a secured crack, 11.5cm. £150-250 878 A Caughley blue and white spoon tray, c.1782-92, the elongated form painted with the Bright Sprigs pattern within a narrow blue border, impressed ‘Salopian’ mark, 16.2cm. £100-200 876

877

878 215

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879 A massive Liverpool blue and white mug, c.1765-75, probably John Pennington, the tall cylindrical form painted with a large bouquet of flowers including chrysanthemum, heartsease and convolvulus, the reverse with a large butterfly and a further flying insect beside a smaller flower posy, the rim with a formal scroll border, the scroll handle with moulded leaf terminal and thumbrest, 27.3cm. £1,000-1,500

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ENGLISH & EUROPEAN CERAMICS & GLASS TUESDAY 20TH SEPTEMBER 2022 ENTRIES ARE CURRENTLY BEING ACCEPTED

THE MICHAEL FONTES COLLECTION OF BOW PORCELAIN FIGURES

ENQUIRIES Clare Durham | +44 (0)1722 424507 | cd@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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AFRICAN & OCEANIC ART THURSDAY 28TH APRIL 2022

A Colima dog, Mexico, 24cm high Estimate £1,500 ­ 2,000*

ENQUIRIES Will Hobbs | +44 (0) 1722 339752 | wh@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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MODERN BRITISH & 20TH CENTURY ART TUESDAY 31ST MAY 2022

Laurence Whistler CBE (1912­2000) A flower has opened in my heart, 1940 an engraved glass goblet commissioned by Siegfried Sassoon for Hester Sassoon's birthday March 16th 1940, engraved inscription For Hester on her Birthday March the Sixteenth MCMXL from Siegfried, the reverse with engraved verse A flower has opened in my heart, the foot with engraved acanthus border, etched Laurence Whistler in acanthus cartouche to the foot, 19.5cm high Provenance Gifted by Siegfried Sassoon to Hester Sassoon, 16 March 1940; And by family descent Estimate £1,000 ­ 2,000* To be sold alongside a collection of original caricatures and drawings by Siegfried Sassoon

ENQUIRIES Victor Fauvelle +44 (0)1722 446961 vf@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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AUCTION INFORMATION OPENING HOURS Castle Street Salerooms Monday to Friday 9am – 5.30pm Castle Gate Offices Monday to Friday 9am – 5.30pm VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales.

To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing id@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies.

PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us.

BIDDING AT AUCTION See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.

BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered.

COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

LIVE ONLINE BIDDING Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens.

BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate.

The colours printed in the catalogue are not necessarily true.

SALE RESULTS These will be posted on our website shortly after the sale.

PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area.

Alban Shipping

+44 (0)1582 493099 info@albanshipping.co.uk www.albanshipping.co.uk

Kimdan Ltd

+44 (0)7973 389436 andy@kimdan.co.uk

Mailboxes

+44 (0)1962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

Pack & Send

+44 (0)1635 887237 newbury@packsend.co.uk www.packsend.co.uk/newbury

Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

EXPORTING YOUR PROPERTY FROM THE UK If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination. It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country.

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand­carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling.

If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.

The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €10,000. We are no longer able to accept card payments of over £1,000 where the card­holder is not present.

Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30­97­41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction.

We reserve the right to add storage charges to all lots not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

CITES REGULATIONS Please note that lots marked Regulations when exported.

λ may be subject to CITES

The CITES Regulations may be found at www.defra.gov.uk/ahvla­ en/imports­exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a a levy.

‡ symbol are potentially subject to

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency.

Please enquire for the accepted exchange rate on the day of the sale.

Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 ­ 200,000 1% €200,000.01 ­ 350,000 0.5% €350,000.01 ­ 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000

FIREARMS

Lots marked Ƒ in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but are not allowed to take physical possession of it. The auctioneers will re­offer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS

TERMS OF CONSIGNMENT FOR SELLERS

1 . Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. The purchase price.

The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol (Ω) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. (As at 31st December 2020.

Please refer to SOFAA website for updates to the Terms and Conditions).

2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above.

3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre­sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable.

5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7.

7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve.

6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

Reserves.

7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help.

The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment.

9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax.

(a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary.

Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

11. Unsold and withdrawn items. If an item is unsold it may with your consent be re­ offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.

12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued.

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13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale.

In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion.

4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position).

6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque 5 weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

(c) In line with new legislation we reserve the right to investigate and identify the source of any funds received by us. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Woolley and Wallis or the Seller.

CONDITIONS OF SALE

(b) You shall at your own risk and expense collect any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (if later) after which you shall be responsible for any collection, storage and insurance charges.

Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

(c) No purchase may be collected and we shall not release any lot to you or your agent until it has been paid for.

8. REMEDIES FOR NON­PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay­out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot.

Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’.

22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988. Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

GLOSSARY Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact.

The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

(i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand.

15. FORGERIES

(j) Dimensions are given height before width.

Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

(k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing.

This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer.

19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue.

Royalties for Droit de Suite are as follows:

20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

21. English law applies to the interpretation of these Conditions.

Please enquire for the accepted exchange rate on the day of the sale.

4% Up to €50,000 3% €50,000.01 ­ 200,000 1% €200,000.01 ­ 350,000 0.5% €350,000.01 ­ 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000 Lots marked with a ‡ symbol are potentially subject to the levy.

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PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you.

This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you.

DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 2018 (DPA) and the General Data Protection Regulation (GDPR).

If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51­61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the­saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the­saleroom.com) of individuals who register for one of our auctions (please see the­saleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the­saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies.

LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

In this respect we will provide your data to the following:

• your name and contact details including address, telephone and email address; • your image, as captured by CCTV, if you attend our premises; • personal identification documents, including copies of government­issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details); • account details and other information relating to your transactions/dealings with us and your use of our Services; • payment details such as credit card and bank account details; • credit and payment history (where you open an account with us as a buyer or bidder); • information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and • other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

• our professional advisors; • the­saleroom.com; • debt collection agencies; • third parties who assist us with our marketing; • our website and email management software provider.

We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.

LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations.

In this respect, we may use your Personal Data for the following: • to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks; • in order to assist with investigations (including criminal investigations) carried out by competent authorities; In this respect we will provide your data to the following: • external auditors; • the police and other competent authorities, including HMRC;

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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above.

We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.

In particular:

SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life­threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).

INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company.

We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey.

PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

• in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.

YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications.

• to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.

Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply.

If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available at: www.ico.org.uk

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Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough

Woolley & Wallis Salisbury Salerooms Ltd. 51­61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No. 02998482 VAT No: 631 9832 29

Design & Production

by Jamm Design Ltd +44 (0)20 7459 4749 jammdesign.co.uk

WW102-726 DayTwo.qxp_Layout 1 30/03/2022 15:55 Page 228

PLEASE PRINT CLEARLY IN BLOCK LETTERS

ABSENTEE BID FORM

ENGLISH & EUROPEAN CERAMICS & GLASS

Lot Number

Brief Decription

Price Excluding

in numerical

buyer’s premium

order

& VAT

26TH & 27TH APRIL 2022 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Business printed in the catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed.

Billing Name (please print)

Address

Postcode Daytime telephone Email ID may be required even if you have bid with us before.

Signature

Salisbury Salerooms, 51­61 Castle Street, Salisbury, Wiltshire SP1 3SU | Tel: +44 (0)1722 424500 | Fax: +44 (0)1722 424508

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AUCTION CALENDAR 2022 APRIL 12th & 13th 26th & 27th 28th

Silver & Objects of Vertu English & European Ceramics & Glass African & Oceanic Art

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR 2022 AUCTIONS

MAY 17th & 18th 25th 31st

Asian Art, Chinese Paintings & Japanese Works of Art Medals & Coins, Arms & Armour Modern British & 20th Century Art

JUNE 15th 29th

Fine Arts and Crafts Furniture, Works of Art & Clocks

JULY 12th & 13th 14th

Silver & Objects of Vertu Fine Jewellery

Dates may be subject to change

+44 (0) 1722 424500 enquiries@woolleyandwallis.co.uk 51­61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk *Price includes buyer’s premium

A Delft duck tureen or box and cover c1750 SOLD FOR £4,000*

www.woolleyandwallis.co.uk